The Tate’s Digital

Transformation
Presented by Group 2
Abhilash Pujar 190101007
Aishani Agrawal 190101015
Emroz Ahmed 190103189
Garima Gaur 190101047
Sang Vijay 190103190
Sayan Samanta 190103186
Siddhant Kankrej 190103192
Q1. What does the Tate’s fifth gallery add to its museum portfolio? What is its value? How well does it
help address problems that the four other physical galleries face? How does it open up new
opportunities for the Tate?

Problems addressed:
• With the shift from web 1.0 to web 2.0, Tate needs
transformation projects and audience-centered
approach
• Government funding accounted for 20% of revenue
and couldn’t keep up the pace with inflation
• Only 500 viewers are young patrons
• Only 1/14th visitors are from primary target
segment
• Tate Britain, Tate Modern, Tate St. Ives, and Tate
Liverpool : Caters to the people of surrounding
locality whereas 50% viewers are from minorities
Q1. What does the Tate’s fifth gallery add to its museum portfolio? What is its value? How well does it
help address problems that the four other physical galleries face? How does it open up new
opportunities for the Tate?

Value provided:
• Distributed content authorship (audience driven
content according to 4-1-1 rule)
• New digital initiatives (user friendly website
with digitized 70000 objects)
• Editorial content
• Dialogue and discussion (40-40-20 rule)
• Revenue-generating opportunities
• Live events broadcasting
• Online audience base (new audience from
disabled and minority groups

Opportunities:
• Social media followers increased from 45k to 175k
• Doubled visits than physical galleries
• Registered users increased by 120%
• Revenues from online activities doubled
Q2. What should the role of digital be at the Tate? Which audiences should it target? What should
be its strategic objectives?

Role of Digital At Tate

• Implement Digital for internal process, Product
design, Marketing and Pricing Strategy
• Engage the Audience online for Research, fund
raising
• Customer penetration
• Educate and Improve Offline Experience

Audience
Prefer audience unable to visit physically
• High overseas audience
• High outreach audience
 Q2. What should the role of digital be at the Tate? Which audiences should it target? What should
be its strategic objectives?

Strategic Objectives

• Continuing to grow membership to include more

diverse and older groups
• Keeping revenues and donations on pace with
operating costs
• Modifying Tate Online to become an interactive and
collaborative experience
• Later incorporating Tate Online into all aspects and
departments of The Tate Museum "Family"
• Delivering an exceptional online experience while
not negatively impacting number of visits to the
Tate Museums
• Maintaining the Tate brand while allowing many
people speak (curators, researchers, etc.)
 Q3. Keys to Stack’s success during the Tate’s digital transformation

• Shifting focus from informing to creating (via a virtually

striking design)
• Digital Assets like free content adhering to Tate’s mission and
vision
• Gamification and personalisation
• Enhance in-gallery digital experience:
• Create a digital community.
• Live performances and events
• Encourage visitors to comment real time via Twitter,
Facebook and Google+ about their experiences

• Transform visitor experience through technology:

• Wi-Fi enabled in galleries for easy sharing
• Tablets to access digital assets and online content
• Touchscreen and digital learning studios

• Bloomberg Grant:
• 75 interactive screens setup to project comments,
tweets, photo, digital drawings created by visitors
• Drawing bar: encouraged visitors to doodle and drawings
displayed in content stream and uploaded to Flickr
 Q4. Assess the feasibility of Stack’s vision to make digital a dimension of everything the Tate does.
Is this an appropriate goal? What does he need to be more successful in the future?

Feasibility of Stack’s vision

• Siloed Structure
Need to bring together employees from different departments
• Familiarity of employees with social media
Staff and curators not skilled with social media
• Expanding authorship for digital content
Content posted was rigidly monitored
• User generated content vs scholarly authority
Undermining of scholarly authority

Steps for the Future

• Train staff for leveraging Social Media
• Hold workshops for art-related content creators
• Brand content as user generated and staff
generate to main the sanctity of the content
 Q5. Assess Stack’s options for monetizing the Tate’s digital assets. Which of the options before him are
most likely to deliver a return on investment?

1. E-commerce

• Linking the Tate’s online shop to its digital content so that

users may discover all the offerings from Tate.

Sell books, prints and products related to the Tate collection

• Online Sales were healthy and increased by 57% as compared

to the last year

2. Online Data Gathering

• Understanding visitors’ behavior by monitoring their

browsing and click patterns and matching them to their
profile in the DB

• Helpful in targeted marketing to promote sales for tickets to

galleries and special events, along with cross promotion of
products and maintaining long term relations

• Make use of flexible page templates and Tate’s API to make

processes like login and registration seamless.
 Q5. Assess Stack’s options for monetizing the Tate’s digital assets. Which of the options before him are most
likely to deliver a return on investment?
3. Digital Philanthropy

• Leveraging the online user base for fundraising

• Plans to initiate a managed journey from first time virtual or

actual visitor, through memberships, and patron schemes, to
donor

• Extensive push on ‘Call-to-Action’ in context of donating to Tate

throughout the website – news and blogs sections, social media,
microsites to support individual fundraising campaigns and micro
donations

• Make use of the social patterns to become a more consumer-

centric organisation
4. Pay to Play

• Keeping majority of the online content free and continue

charging a licensing fee for commercial purposes

• Plans to explore new digital products and ‘freemium’ models

• A potential change in the restrictive end user licenses’ policy,

encouraging non-commercial users to more freely reuse and
remix the Tate content for their own creative work or research
 Q5. Assess Stack’s options for monetizing the Tate’s digital assets. Which of the options before him are
most likely to deliver a return on investment?

5. Grants

• Generating grant income from various councils and government

bodies to sustain digital initiatives and programs

• Tate had successfully managed to include unique visitors to

website in its visitation statistics to attract increased Government
funding

MOST LIKELY TO DELIVER A ROI

• A combination of different components must be explored

• The one which is most likely to return a high ROI using the vast
visitors’ data to promote the e-commerce segment via targeted
e-marketing and using the revenues specifically for improving
digital content only

• Use algorithms to understand the live behavior of the current

users on the website and promote the most suited products
from the online shop to those users, scrolling real-time and
offering a slight discount
 Q6. Which of Stack’s digital key performance indicators (KPIs) are most and least useful for measuring
digital return on investment? Why?

Most useful DROI measurement – Conversion

• It gives the direct revenue figures from each and every source

• Tallying multiple years’ data for financial gain/loss is easier for this KPI

• Other KPI’s are better equipped to give target audience and site
efficiency details

Least useful DROI measurement – Technical

• It gives us the quality and performance measurements of our

websites

• Effects on revenue due to technical performance would be tough to

quantify

• Direct effect on revenue can only be seen if the technical

performance leads to heavy downfall in website visits by users
Thank You!