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

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ABBREVIATIONS AEC Ars Electronica Center AV Audiovisual CS Case Study CDA Critical Discourse Analysis DHM German Historical Museum ICT Information and communication technology MoMA Museum of Modern Art (New York) NG National Gallery (London) KHM Kunsthistorisches Museum (Vienna) ZKM Zentrum für Medienkunst (Karlsruhe) NHM National History Museum (London) NML National Museums Liverpool 13
INTRODUCTION This research is concerned with notions of change and how museums have or have not responded to them. The driving force behind this thesis, and its key objective is to shed light onto the real opportunities of using digital media – podcasting 10 in particular – as a tool to present and interpret material culture in museums for the purpose of making the experience of art more engaging, participatory and accessible. 11 10 Podcasting refers to a Web feed of audio or video files that any user can subscribe to, so that they are automatically updated and downloaded as they become available. For a more thorough definition see the paragraph under the sub-heading “Definition” in the Introduction of Chapter 4. 11 Within the museological discourse, user-participation, engagement and concepts of interactivity are still chiefly associated with the clicking of buttons and boxes, with the possibility of enhancing dialogue between museum and audience by allowing users to send emails through websites, or by offering online discussion forums and related online tools and services, which allow users to participate in the production of content on museum websites. This thesis moves beyond this very literal and technical understanding of how the Web enhances user-participation and engagement. User participation as understood in this thesis has not got much to do with users writing and uploading content. Nor is it related to the idea that online museums can foster twoway communication between museum and audiences and among audiences themselves. Rather, it has to do with providing users with the tools that help them make sense of what they encounter in museum exhibitions. More specifically, the thesis argues that podcasting is one of the many possible tools that can be used in the context of museum learning. (And learning, education and knowledge is considered as one of the prerequisites, necessary for encouraging users to become more participatory and engaged in the museum experience.) The thesis, for instance, shows how podcasting can support users in preparing or following up their museum visit. This it is argued will help users to develop skills to construct meaning from objects they see in exhibitions and in a second step, because they are more informed, people will become more engaged in culture. This understanding of user-participation is based on the idea that a more informed user will automatically make more sense of the museums’ offerings, which is supported by the research of Falk and Dierking. These key theorists in the field of museum learning argue that a visitor who feels comfortable in the galleries, who can easily orientate him/herself around the spaces, and has some sort of idea what to expect in the galleries, will be more likely to understand the exhibition’s narrative and as a consequence be able to take in more information, and make more meaning out of this information. The idea is that a more informed museum visitor, is also likely to become more interested, hence engaged in all sorts of cultural experiences, be they in a museum or not. Based on literature reviews and data collected in case study 2 it is argued, that podcasting can foster interests in various subjects. It is not argued that podcasting of museum x will create subjects that become regular visitors of museum x. But what is suggested is that people who listen to a podcast of museum x, might visit an exhibition related to the subject they encountered in the podcast whether in museum x or elsewhere; or they might read a book on this newly discovered subject, visit a theatre or concert. Summing up, the key argument is that a welldone video or audio programme (that may be provided as podcast, webcast, embedded 14
Page 1 and 2: Researching podcasting in museums:
Page 3 and 4: TABLE OF CONTENTS ABSTRACT ........
Page 5 and 6: DEVELOPING A TYPOLOGY OF MUSEUM POD
Page 7 and 8: TABLE OF FIGURES Figure 1 Three sta
Page 9 and 10: Figure 33 What listening media are
Page 11 and 12: est of the support staff, particula
Page 13: Marie Maculan, who have most genero
Page 17 and 18: Polish or indeed in many other Euro
Page 19 and 20: an online experience of art might b
Page 21 and 22: eal opportunity for museums to reac
Page 23 and 24: METHOD AND METHODOLOGIES Largely du
Page 25 and 26: it could be employed and after a fe
Page 27 and 28: new media in museums were conducted
Page 29 and 30: put into groups, based on the topic
Page 31 and 32: theoretical study of how to ask que
Page 33 and 34: Critical Discourse Analysis 35 Duri
Page 35 and 36: professionals encountered at the 20
Page 37 and 38: The questions of the case study are
Page 39 and 40: The stage of explanation, as regard
Page 41 and 42: CHAPTER 1 Has the Web made art more
Page 43 and 44: Other digitisation projects of muse
Page 45 and 46: It needs to be pointed out, though,
Page 47 and 48: The data collected for this researc
Page 49 and 50: Mediathek further explained that
Page 51 and 52: for enjoyment and learning. But the
Page 53 and 54: Correspondingly, Roberta Buiani pos
Page 55 and 56: What the above discussions suggest
Page 57 and 58: 2 CHAPTER 2 Authenticity and Origin
Page 59 and 60: Age an authentic museum experience
Page 61 and 62: likely begin to erode. And when mem
Page 63 and 64: Most notably, there is a shift in t
Page 65 and 66:
them in a new interpretative frame.
Page 67 and 68:
of the work may be authentic. Below
Page 69 and 70:
some people that are experiencing t
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Now, comparing the abovementioned v
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image, from museum as place for the
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station, Shackleton’s grave, a co
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attendants at the Louvre recently w
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focused it is necessary to specify
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In order to keep the focus of this
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ideas of museum websites, and the m
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passive consumer of content, the la
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they can allow access to databases
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The complimentary site refers to wh
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the future, which he in reference t
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However, even if museologists often
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which exists as completely independ
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make links between various objects.
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what to expect in the galleries, wi
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constitute a small portion of a mus
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learner” is emerging. (Original e
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of updates to a large number of int
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problems. Users can subscribe to to
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saw the Web as a means to integrate
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archive in Vienna.” 210 The above
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Figure 10 Gilbert and George video
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“in the early days, leading up to
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programme for concentrated listenin
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With Tate Shots, a series of new vi
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in Germany, Austria and Switzerland
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from people with very diverse backg
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preparing a visit or finding the sh
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232 Ibid. 233 Ibid. Figure 17 A wor
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interests are, is important if muse
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4 CHAPTER 4 Evaluating the feasibil
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podcasting was conducted by Pew Int
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ecome very popular since the launch
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Berlin and discussed the many ways
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themselves. On the one hand, it wil
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What this shows is that whether lar
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note here that whereas museum profe
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clearer in Case Study 3, there are
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visitors. It can provide a very use
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No sensible person would say that i
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Again, it is the SFMOMA, which has
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It is probably too early to assess
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podcasting is fostering a range of
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National Museums of Berlin podcast
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5.8 Podcasts for before or after a
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Figure 23 Dulwich Picture Gallery
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previews the Velazquez exhibition a
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There is also another dimension to
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the show aims to highlight that St.
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types of podcasts primarily serve a
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sixteen minutes long, which is slig
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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
Page 299 and 300:
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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