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

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present and interpret art? (2) What can museum visitors do with podcasts and in what ways might it enhance their experience of art? (3) What is the possible impact of podcasting upon the relationship between museums and audiences? The theoretical basis of the research The first part of the thesis addresses the nature of the changes which affect museums today: the rapid digitisation of culture and its accessibility online, changes in the way artists produce, museums present and audiences consume works of art, and finally the challenges and opportunities which arise for museums within a Web 2.0 environment. The analysis of these key contexts will build the theoretical basis of the thesis, and set the stage for the second, the empirical part of the thesis on podcasting. The aims and objectives of Chapter 1 are to analyse the question whether online connectivity leads to enhanced accessibility of art. What will come out of Chapter 1 is that there is currently a vast amount of cultural content on the Web. However, the data collected for this research shows that because this content is in many cases not appropriately contextualised, the database model of a website does not necessarily make art more accessible for audiences beyond that of experts. The thesis argues that giving people free access to collections is a step into the right direction of making culture accessible, but the engaging, participatory and accessible museum is not guaranteed by the provision of rich cultural content databases. Moreover, the chapter reveals that online media in general, and new broadcasting models of publication in particular, should be drivers for the production of new types of content rather than as mere channels of distributing existing content. Furthermore, the chapter concludes that the museum should play an active role in moderating and interpreting content, so as to support audiences to become active participants in the experience of culture. Chapter 2 focuses on the museological context. It addresses key questions regarding notions of authenticity and originality. It assesses the question whether 17
an online experience of art might be authentic and evaluates whether online museums threaten the primacy of the original artefact. The thesis concludes that notions of the authentic and the original are subject to social, cultural and historical change. The way artists produce artworks and the way audiences consume them has changed, which had an impact on what an authentic experience of original art is. Furthermore, it is argued that one has to take a differentiated approach towards online presentations of art. Whereas some works lend themselves very well for the medium of the Web, others do not. Providing authentic experiences online is just as much about understanding the potentials and limitations of the medium of the Web, as it is about comprehending the nature of a work of art. The crucial point is to make critical and individual decisions about the appropriateness of the Web as a medium to interpret and present works of art, whereby taking the nature of the physical and the theoretical qualities of the work of art into account. Through looking at an example of digital art, the chapter concludes that in the Media Age authentic experiences of original art are becoming disengaged from the physical space of the museum and may be experienced through various forms: It may be in the museum, but it may also be online on anything from personal computer to mobile phone. Chapter 3 defines the nature of the technological changes that are currently taking place and that are commonly referred to as Web 2.0. The chapter is structured into three sections: The first looks at the key features of the second digital wave, and how some of the new services associated with the Web 2.0 have been employed on museum websites. The second takes a historical approach, looking at how museums have made use of the Web since the mid 1990s. It is about identifying key types or paradigms of museum websites. The key outcome of these three sections is that some of the key ideas behind museum websites, like ‘targeting specific audiences,’ customizing, localizing and personalizing the Web experience and even notions of constructivism and ‘user- generated content,’ have already been at the heart of museum websites, long before these terms even existed as such. Secondly, what will come out of this analysis is that the notion of a ‘platform of participation’ is not necessarily restricted to notions of user-generated content. 18
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 and 14: Marie Maculan, who have most genero
Page 15 and 16: INTRODUCTION This research is conce
Page 17: Polish or indeed in many other Euro
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
Page 71 and 72:
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
Page 81 and 82:
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
Page 93 and 94:
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:
Page 301 and 302:
Petrie Museum http://www.petrie.ucl
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5 Case Study 1 - Leicester Research Archive - University of Leicester

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