Regard sur 5 années d expériences et de retours d expériences numériques à la Tate

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1 Regard sur 5 années d expériences et de retours d expériences numériques à la Tate Elena Villaespesa, responsable du numérique à la Tate est intervenue aux 5ème rencontres nationales culture & innovations le 31 Janvier Elle y a présenté l évolution des différents outils mis en place par l institution pour améliorer l organisation et l utilisation de ses données numériques. La première partie de son intervention présente l étude des différentes pratiques numériques mises en place par l'institution culturelle. Elena Villaespesa constate les progrès de la Tate entre ses débuts et maintenant. Ce progrès est parallèle à l émergence des réseaux sociaux. Tout d abord il était important pour le musée de développer une stratégie liant ses différents départements, ce qui demande beaucoup de travail pour une si grande institution. L'équipe de l'activité numérique s'est basée sur différents aspects à développer : la gestion, la gouvernance, les objectifs, les champs d approches; l'analyse des diverses équipes; l évolution, la méthode; les outils, la technologie et l intégration des données. En étudiant ces sujets, la Tate connaît d avantage ses ressources, ses clients et leurs besoins. Elena Villaespesa a ensuite présenté les principes numériques de la Tate, un article sur ce sujet est disponible en ligne. Selon Elena Villaespesa il est important de travailler avec tous les départements du musée et pas seulement celui du numérique. La pratique des études statistiques a ainsi été enseignée à tous les départements. Par exemple, ils ont appris comment créer des tableaux de bord avec le programme de statistiques de Google Google Analytics. Cela peut servir pour de nombreuses raisons: constater l artiste le plus consulté, quels objets de la boutique sont les plus vendues, l étude des nationalités des visiteurs selon une exposition. Quelques tableaux de bord sont disponibles en ligne sur bit.ly/tatedashboard Ce tableau de bord peut servir aussi bien comme un outil de communication que pour des études de données. Il est important de récolter des données avant d élaborer un projet numérique. La Tate utilise également des sondages parfois faits dans le hall

2 d entrée du musée en échange de tickets d entrée ou réalise des enquêtes basées sur l activité du public sur les réseaux sociaux. Elena Villaespesa expose quelques exemples de projets numériques réalisés avec ces différents outils. A travers les réseaux sociaux, la Tate poste en ligne l'image d'une de ses œuvres qui reflète le climat du moment. Le musée présente également un nouvel espace d'exposition interactif appelé The tanks ouvert en 2012 qui permet à la Tate de publier des vidéos, des adresses de sites, des blogs sur les réseaux sociaux à travers le hashtag #thetanks. Nicholas Serota, le directeur, a voulu approfondir cette initiative en rajoutant des interactions avec le public qui peuvent à leur tour publier dans cet espace numérique. Du point de vue markéting, l'hashtag a un impact très fort, surtout quand il est re-tweeté par des grandes enseignes tel que la ville de Londres, BBC news, ou encore des célébrités telle que Yoko Ono. La Tate Modern a ensuite décidé de créer des échanges sur l'art entre les visiteurs; c'est pourquoi elle a créé deux murs, un mur numérique qui expose les tweets variés en direct et un mur traditionnel où les personnes peuvent écrire leurs commentaires. Des analyses ont montré que l'expérience du mur digital a été très appréciée du public. Un classement des mots clés positifs, neutres et négatifs a été mis en place, cependant sorti du contexte un mot peut-être aussi bien négatif que positif. Enfin les différents sujets ont été analysés pour étudier ce que le public a le plus ou moins aimé. Le sujet le plus abordé était le lieu lui-même. La dernière partie de la présentation a porté sur le travail de segmentation marketing de la clientèle qui permet d'améliorer l'expérience des visiteurs et de mettre en valeur une collection qui soit accessible pour tous. Il est important de comprendre le parcours du public de l'avant à l'après visite, c'est pourquoi le département du développement numérique travaille à partir des études des autres départements de la Tate. Elena Villaespesa a ensuite répondu à quelques questions:. La première porta sur les moyens d'évaluations des différents projets. Elena Villaespesa insista sur le fait qu'il est nécessaire de penser le format des rapports d'évaluation et des plannings d'évaluations dès le lancement du projet. L évaluation doit être pensée en même temps que l expérimentation. L'évaluation doit être commencée dès que la

3 proposition du projet a été acceptée par la direction.. La seconde question aborda les échantillons du public. Elena Villaespesa ajoute que la Tate rapprochera bientôt les audiences du public en ligne de celles du public physique. Le service du développement numérique prépare ainsi un tableau de bord des visiteurs à partir des études sur l'audience physique.. La dernière question a traité de son lien avec ses différents collègues des autres musées de Londres. Elena Villaespesa souhaite avoir plus d homologues avec qui échanger, elle est en contact avec des collaborateurs du Smithsonian et de la British Library. ENGLISH TRANSCRIPTION Looking back on the digital experiments of the Tate during the last 5 years Elena Villaespesa, Digital Analyst at the Tate Modern, gave a presentation in the CLIC conference in Paris on 31 January 2014 on the different tools which the Tate applies in order to better utilise and organise its digital data. The first part of the presentation was a study on the different digital practices used by the Tate. Villaespesa began by presenting where the Tate was a few years ago in contrast to where they are now. Since then, the tools of social media have developed enormously. The first step that the Tate took in regard to the digital activities and tools was to create a plan and strategy between the different departments. This involved research to find out how to best implement these new strategies in as big an organisation as the Tate. They then selected several key indicators to help the organising process, and sent reports on how those indicators were working. These indicators included management, governance and adoption; objectives; scope; team and expertise; continuous improvement, process and methodology; tools, technology and data integration. By studying these indicators, the Tate endeavours to better understand the client base and to provide more useful services. Villaespesa then presented the Digital principles of Tate, an article that is also available online. The second paragraph included a section on how the Tate is going to approach and work on the digital experience through an audience-centred approach.

4 Villaespesa is a digital analyst in the digital apartment, but it is necessary for her to work with the entire organisation. Each department monitors their own results in collaboration with all the other departments. At the beginning of the digitisation of the Tate, all the departments were given a short introduction to analytics. For example, they were told how to create different dashboards using the Google Analytics programme. These can then be used for many purposes: for a specific collection, the most visited artist, for the shop to determine the revenue by country or by a specific object. They can also be used to measure the activity online. Some of the dashboards created by the Tate are available on the web at bit.ly/tatedashboard. A dashboard can be used both as a tool for communication and as a collector for important data for funding opportunities. It is important to have data before any digital initiative is taken. The activity must always be monitored and recorded using both qualitative and quantitative tools. In addition to the Google Analytics programme, Tate uses heat maps and surveys; usability testing sessions, where they enter the galleries and interview the public about the experience in exchange for tickets; and analysis on social media platforms, that can be used for many different objects for example for marketing events, or for the learning department to interpret in order to create a dialogue with the users and to find out what the user wants, needs, and uses the website for. Villaespesa then went on to give some examples of the work already done with the help of these tools. In the social media, they have been experimenting on the weather: each week the Tate selects a work of art from their collection that reflects the current weather, and posts it in their Social Media platforms. She then presented a case study on how the Tate uses the social media, relating to the new live art exhibition space called the Tanks. They were opened in 2012 with a fifteen-week festival called art in action, during which the Tate published regular videos, websites and blogs on the social media under the hashtag #thetanks. The director, Nicholas Serota, wanted the new exhibition space to be a space where dialogue and interaction happens with the audiences. The three tanks fulfil the purpose of communication, conversation and research, which are also the purposes of their action in social media. From the marketing perspective, the hashtag had a great impact in the media, which began to take interest. The hashtag was re-tweeted by outlets such as the city of London and BBC News, as well as by celebrities such as Yoko Ono. Villaespesa reminded us not to underestimate the word of mouth, or the amount of photographs that were

5 being taken at the time. The interpretation team of the Tate Modern wanted to generate conversation to get people to talk about the art in that particular space. They created two walls, an interactive one for the audience tweets, and a traditional one with a pen, in order for the people to choose and respond accordingly. These were then analysed in several different approaches. Firstly, the analysis showed that simply the experience of being on the wall of Tate Modern was the most exciting thing for the public. Secondly, the comments were classified as either positive, neutral, and negative, and the most used words were listed. The problem was that some of the words were relative, and taken out of context could be either positive or negative. Thirdly, the topics were crossreferenced to see what the public liked and did not like. The main topic was the space itself, which was seen either as an interesting perspective or as too direct. The other topic was the art, which was illustrated by the public s pictures of interactions with the space, published in the social media under the hashtag. The last part of the presentation was about how the Tate is constantly working on segmentation in order to improve the user experience and to make the collection suitable for all. For certain exhibitions the objectives are more obvious, but most of the time even a clear objective such as research can have countless implications. The next step for the Tate is to link all those segments and all the data systems the Tate. The digital analyst needs to work closely with the departments to understand all the detailed aspects and the journey of the public both before and after the visit. They must also create a network, consisting of a visitor experience team in collaboration with the departments, but there is still a long way to really understand the users. After the presentation, Villaespesa answered some questions. The first question was about evaluating her projects. She replied by stating that evaluation is always at the end of her mind, and it is a part of her job to create templates for evaluation reports and evaluation planning, which she is now coordinating. Evaluation must be made as soon as a proposal to a project has been received. The second question was about audience panels. According to her, the Tate has an audience panel and is now looking into also having an online audience panel. Instead of doing an evaluation in the end, maybe the Tate could perform interviews online and so on. It is very new for the Tate to have an audience panel since they have been working more on the physical visit. The third question asked if she has any colleagues in the London museums with whom she could share her ideas. She expressed her need for analytic friends, listing some in

6 the Smithsonian museum and the British Library. She also knows people who work in the digital aspects and have the word analytic as part of their job descriptions. She also noted, that only last week someone contacted her, asking to see her job inscription in order to add the position into their museum. Iita Kulmala & Suzanne Ducreau