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

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Are you working on PC or Mac? Did you buy any equipment for the production of podcasts? Dave Anderson (Towneley Hall): Because we work for a local authority, we are tied in with PCs. We bought a couple of MicroTrack digital recorders and a couple of microphones for the interviews. The microphones we bought for another project which will come to fruition next year. This is a natural history project for which we are going to produce podcasts. So this year I have been doing a lot of Nature recording, i.e. recording of natural sounds. That’s due to go live next Easter. What software are you using? Dave Anderson (Towneley Hall): Audacity. I always try to use free software. Were did you learn how to podcast? Dave Anderson (Towneley Hall): I just grabbed the software and started doing it. Where did you learn of how to do podcasts? Toby Travis (V&A): Everything I know about podcasting I learned from this one book called ‘Podcasting solutions.’ How much did you invest in equipment? Toby Travis (V&A): Approx. 2500 GBP. I think we have to invest into decent audio editing software. But I haven’t started researching that yet. On what listening media do you reckon your users are consuming the podcasts? Toby Travis (V&A): I imagine that most people watch/listen to podcasts on an iPod. My feeling is that more and more people will start downloading onto their portable devices. 281
How easy is it to create RSS feeds? Toby Travis (V&A): I have done RSS feeds for other projects, so when I started podcasting, I already knew how to hand code RSS feeds. But because its so easy to make mistakes, I have just bought some software. You also have to validate the feed. You can do that on www.feedvalidator.org. I used that when I was hand coding it. Now I am using this software called feeder (for Mac), but I think it is still good to check the feed in the feedvalidator. The feeder simplifies the process, the other thing it does it adds the iTunes tags. iTunes requires a whole set of tags, which makes it writing it by hand really cumbersome. If you have never done HTML or XML hand coding is probably very difficult and such a software is very helpful. I think without such software, it would be quite daunting if you have no experience. You were the first museum in the UK which offered a podcast, weren’t you? Dave Anderson (Towneley Hall): Yes. To start the ball rolling, we released a prototype audio tour in December 2005. We hand-coded the RSS feed, so this was mainly a way to get my head around how to programme everything. I ripped the content of our audio guide from a CD and turned it into an mp3 file. We did this first episode mainly to familiarise ourselves with the process of producing a podcast. Then we got a grant for an exhibition and in January 2006 we started recording the first sort of real podcast. What was the key thing you learned from the first test podcast? Dave Anderson (Towneley Hall): There was a lot of trial and error involved in trying to set up the RSS feed. The actual production of the audio was the easiest part of it, really. The challenge was to categorise it correctly, so that iTunes can pick it up. Why are you doing one episode with and one without images? 282
Page 1 and 2:
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
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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
Page 231 and 232: RF also constructs a social relatio
Page 233 and 234: In the first part of the above sent
Page 235 and 236: new types of content. With the podc
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Page 239 and 240: 7.4.5 Explanation The interpretatio
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Page 247 and 248: Based upon these discussions, Chapt
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Page 251 and 252: few examples, which show a truly pr
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Page 257 and 258: Discourse In this study the term di
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Page 261 and 262: Dave Anderson (Towneley Hall): It s
Page 263 and 264: Reactions of colleagues on podcasti
Page 265 and 266: How do people develop a format for
Page 267 and 268: Der Wunsch der Museen nach qualitä
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Page 271 and 272: Listening to the interviews you hav
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Page 279 and 280: Now you are working with Antenna Au
Page 281: etween the two, a USB mixer called
Page 285 and 286: APPENDIX 2 Questionnaire for the Us
Page 287 and 288: No, I prefer conventional audio gui
Page 289 and 290: BIBLIOGRAPHY Aaken, G. v., Ich bin
Page 291 and 292: ----------, Language and Power. Sec
Page 293 and 294: Keller, R., Diskursforschung. Eine
Page 295 and 296: &en=e3122c5982dec40b&ei=5088&partne
Page 297 and 298: 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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