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

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The author proposes that additionally, one can understand encouraging user- participation in museums also in terms of fostering a more informed audience. A truly accessible museum is one, which provides users with the ‘intellectual tools,’ which help them to make more sense of what is exhibited. This chapter is thus about demystifying the museum and making processes of interpretation, which are behind display strategies, more transparent. Fostering a more engaged and participatory audience, hence, has to do with notions of empowerment and transparency. What does this mean for the research question of this thesis? Most obviously, it raises the question if and how new broadcasting models of publications and podcasting in particular may be used to foster this type of user participation. Consequently, one of the questions Part 2 addresses is: can podcasting make the museum experience more transparent and foster an empowered audience? Case Study 1 tries to find an answer to this question. Chapter 3 suggests that the Web 2.0 has encouraged museums to distribute their content on the various social networking sites. It might be too early to assess the real impact of such sites on audience development. Yet, beginning to learn more about how users behave and what their interests are, is important if museums want to use new broadcasting media for audience development. Because of a lack of empirical data on how people use audiovisual programmes produced by museums, the author conducted a survey on podcasting at the Ars Electronica Center. This study will be at the centre of Case Study 2. The final section of Chapter 3 is about defining the consequences of the changes identified in Section 1 and 2. It analyzes the move towards the ‘channel model’ of a website, the notion of the ‘museum as producer’ and the shift from the object-centred to the story-based museum website. 14 The data collected for this research proposes that one of the consequences of Web 2.0, namely the way museums present content online, is that they are increasingly modelling formats around those of the mass media, especially TV, Radio and film and that there is a 14 The concepts of the ‘object-centred’ and the ‘story-based’ museum Websites will be explained at length in Section 3.7.1 in Chapter 3. 19
eal opportunity for museums to reach new audiences through dispersing their audiovisual (AV) content on various social networking sites, such as the vidoesharing website YouTube 15 or the photosharing site Flickr. 16 What will be made explicit is that with Tate Online, for instance, and particularly with the launch of ‘Tate Shots,’ Tate has moved well beyond the recording of public programmes and events and has started to produce their own documentary style programmes on contemporary art that are comparable to those usually aired by broadcasting stations such as Arte or 3 Sat in Germany, Austria and Switzerland or the BBC in the UK. Similarly to broadcasting stations, Tate has started to release programmes according to a well thought through time-based strategy, recognizing that certain types of programmes might be more appropriate for users than others at a certain point in time. AV content that is related to big exhibitions, such as the Turner Prize, is not uploaded all at once anymore. 17 Rather, such content is released in several steps, taking into account the marketing strategay of that particular event. Through analysing the shift from the object-based towards the story-based museum website, the thesis suggests, that key behind those two approaches, are different assumptions about the audience. The latter positions the user as an active participant, explorer, and/or learner. Probably most importantly, it positions the user as someone who might or might not be interested in visiting the museum, acknowledging that an authentic experience of the museum might be experienced online as well as onsite. In the context of the question of how to make the museum experience more engaging, immediate and accessible through the use of new broadcasting models of publication, the following question arises: What is the real impact of podcasting on the relationship between museums and audiences? Trying to find an answer to this question will be the objective of Case Study 3. 15 YouTube www.youtube.com (23.11.2007). 16 Flickr www.flickr.com (23.11.2007). 17 The Turner Prize is an award for contemporary artists held at Tate Britan that has provoked debate since its inception in 1984. http://www.tate.org.uk/britain/turnerprize/history/default.htm (2.1.2008). 20
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 and 18: Polish or indeed in many other Euro
Page 19: an online experience of art might b
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
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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:
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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