5 Case Study 1 - Leicester Research Archive - University of Leicester

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Figure 14 Rogier van der Weyden on the website of the Kunsthistorisches Museum Vienna 225 Figure 15 Turner collection on Tate Online 226 On the two screenshots two very different approaches to presenting and interpreting objects online can be seen. The KHM’s presentation of the painting references very much the interpretation found in galleries: the object label and a curatorial text. Tate, on the other hand, only provides minimal description of the painting and focuses on the context of the work. A whole range of texts, written 225 Kunsthistorisches Museum http://www.khm.at/system2.html?/static/page256.html (as of 10.1.2008). 226 Tate Gallery http://www.tate.org.uk/britain/turner/williams.htm (as of 10.1.2008). 121
from people with very diverse backgrounds and from different historical periods, can be found. Most significantly these statements are not made by museum staff, but by authors, such as the archbishop of Canterbury and the BBC’s Meteorologist Michael Fish. So not only, does the presentation focus on ‘the story behind the objects,’ the presentation also recognizes the importance of providing text which is not only written by the museums’ own staff but from people of various backgrounds. Related to the idea of a story-based museum experience is that of the ‘blended museum,’ the museum, which blends the online and onsite exhibition, so as to help the visitor make sense of the objects in a more narrative-based way. The Natural History Museum London (NHM) serves as a good example to illustrate this point further. The NHM argues “museums should encourage a ‘virtuous circle’ between their physical and virtual spaces. Visitors to the museum should be encouraged to bookmark information to be sent to them via the Internet/mobile for use at a later date. This extends the relationship with the visitor beyond the walls of the museum, building on Museum ‘citizenship’, and allows the visitor to receive and consume complex information in their own time and in the right environment.” 227 In order to realise the ‘virtuous circle’ the NHM suggests that a variety of platforms, mobile, handhelds, kiosks, etc. could be explored for developing this facility. An initial example at the NHM is their Ecology kiosk, “where visitors can send information on relevant organizations to themselves via email, and the upcoming PDA pilot to mark the centenary of Waterhouse, which will have the capacity to bookmark and send links via email.” 228 Other examples, which illustrate the shift from object-centred to story-centred museum websites were developed by the National Museums of Science and Industry (NMSI). In 2004 they launched two websites. Referencing them, the NMSI argued in the consultation ‘Understanding the Future’ that “its experience with its two award-winning new websites launched in 2004 has shown that the 227 Understanding the Future. 228 Ibid. 122
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Researching podcasting in museums:
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TABLE OF CONTENTS ABSTRACT ........
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DEVELOPING A TYPOLOGY OF MUSEUM POD
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TABLE OF FIGURES Figure 1 Three sta
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Figure 33 What listening media are
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est of the support staff, particula
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Marie Maculan, who have most genero
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INTRODUCTION This research is conce
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Polish or indeed in many other Euro
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an online experience of art might b
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eal opportunity for museums to reac
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METHOD AND METHODOLOGIES Largely du
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it could be employed and after a fe
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new media in museums were conducted
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put into groups, based on the topic
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theoretical study of how to ask que
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Critical Discourse Analysis 35 Duri
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professionals encountered at the 20
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The questions of the case study are
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The stage of explanation, as regard
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CHAPTER 1 Has the Web made art more
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Other digitisation projects of muse
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It needs to be pointed out, though,
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The data collected for this researc
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Mediathek further explained that
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for enjoyment and learning. But the
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Correspondingly, Roberta Buiani pos
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What the above discussions suggest
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2 CHAPTER 2 Authenticity and Origin
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Age an authentic museum experience
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likely begin to erode. And when mem
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Most notably, there is a shift in t
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them in a new interpretative frame.
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of the work may be authentic. Below
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some people that are experiencing t
Page 71 and 72: Now, comparing the abovementioned v
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Page 79 and 80: focused it is necessary to specify
Page 81 and 82: In order to keep the focus of this
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Page 87 and 88: they can allow access to databases
Page 89 and 90: The complimentary site refers to wh
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Page 93 and 94: However, even if museologists often
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Page 101 and 102: constitute a small portion of a mus
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Page 105 and 106: of updates to a large number of int
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Page 109 and 110: saw the Web as a means to integrate
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Page 113 and 114: Figure 10 Gilbert and George video
Page 115 and 116: “in the early days, leading up to
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Page 119 and 120: With Tate Shots, a series of new vi
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Page 129 and 130: interests are, is important if muse
Page 131 and 132: 4 CHAPTER 4 Evaluating the feasibil
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Page 135 and 136: ecome very popular since the launch
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Page 139 and 140: themselves. On the one hand, it wil
Page 141 and 142: What this shows is that whether lar
Page 143 and 144: note here that whereas museum profe
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Page 149 and 150: No sensible person would say that i
Page 151 and 152: Again, it is the SFMOMA, which has
Page 153 and 154: It is probably too early to assess
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Page 157 and 158: National Museums of Berlin podcast
Page 159 and 160: 5.8 Podcasts for before or after a
Page 161 and 162: Figure 23 Dulwich Picture Gallery
Page 163 and 164: previews the Velazquez exhibition a
Page 165 and 166: There is also another dimension to
Page 167 and 168: the show aims to highlight that St.
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guide format: Curator-led tours or
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emains the same, which is one of th
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The author’s experience as a writ
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people with visual impairments to e
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understanding of the audience and h
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case leads one to go and see it, ev
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Listen to lectures in museums It se
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adio shows, or that they can serve
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hour and a half of a conference in
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time. This person might not be awar
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merely provide content as podcast b
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Related to the question of how freq
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AEC’s podcasts, but have not list
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whether Nationalgalerie or Kunsthal
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Have you ever listened to the Ars E
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many, i.e. 12 respondents, have sai
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Have you ever downloade d a museum'
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Among all the 116 respondents, 90 h
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two users who are consuming podcast
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Another interesting outcome is that
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are using podcasts on the move are
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everyday life. It accepts that ther
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7.3 Podcasting at the San Francisco
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The following section will cite an
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also he must have had also access t
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As regards formality, one of the fi
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very much. Yes, they are speaking i
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The press release goes on describin
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RF does not really describe it at a
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RF also constructs a social relatio
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In the first part of the above sent
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new types of content. With the podc
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Question 5: Does the podcast reflec
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7.4.5 Explanation The interpretatio
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institution.” 359 As has been sho
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anything. Whether a podcast can con
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manageable proportions as well as t
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Based upon these discussions, Chapt
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A podcast is not an Audio Newslette
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few examples, which show a truly pr
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has shown that podcast users tend t
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there. In short, it is difficult to
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Discourse In this study the term di
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programme may be consumed, streamin
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Dave Anderson (Towneley Hall): It s
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Reactions of colleagues on podcasti
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How do people develop a format for
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Der Wunsch der Museen nach qualitä
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take advantage of this new technolo
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Listening to the interviews you hav
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happy to answer technical questions
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unterschiedlichen Formaten der Ger
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subscribed to a particular RSS feed
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Now you are working with Antenna Au
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etween the two, a USB mixer called
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How easy is it to create RSS feeds?
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APPENDIX 2 Questionnaire for the Us
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No, I prefer conventional audio gui
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BIBLIOGRAPHY Aaken, G. v., Ich bin
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----------, Language and Power. Sec
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Keller, R., Diskursforschung. Eine
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&en=e3122c5982dec40b&ei=5088&partne
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Understanding the Future: Museums a
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Cultural Broadcasting Archive http:
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Petrie Museum http://www.petrie.ucl
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5 Case Study 1 - Leicester Research Archive - University of Leicester

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