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

More documents

Recommendations

Info

I prefer using the portable device for listening to music only Not applicable, I download podcasts to a portable device Other 6. When I listen to podcasts… I do nothing but listening I am on the move, e.g. on the way to work Other 7. I listen to podcasts… Every day A few times a week A few times a month With no specific pattern 8. I listen to podcasts… On the same day, or very soon after they have become available. Weeks after they became available Months after they became available No specific pattern 9. I download podcasts… Every day A few times a week Once a month With no specific pattern 10. Ars Electronica offers webcasts and podcasts. I believe that a podcasts serves me better than a webcast. Yes No What is the difference? I don’t know 11. Have you ever downloaded a museum’s audio tour and listened to it in an exhibition? No If yes, which museum? 12. If Ars Electronica offers an audio tour as podcast, would you download it and take it in the exhibition? Yes Not sure 285
No, I prefer conventional audio guides No, I never use audio guides 13. What type of programmes would you be interested in receiving from Ars Electronica? (more ticks possible) Audio tours Recordings of lectures and other public programmes Brief information on the museum’s activities In-depth news programmes on the museum’s activities (including e.g. interviews with artists and curators) Other 14. In order to listen to podcasts one needs an iPod? True False 15. How often do you visit the Ars Electronica Center? More than once a month A few times a year Hardly ever Never 16. How often do you visit the Ars Electronica website? Every day A few times a week A few times a month A few times a year Never 17. Where do you usually visit museums? I visit my local museums I visit museums when I travel Other 18. Your age Below 20 20-30 31-40 41-50 Above 50 286
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 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
Page 71 and 72:
Now, comparing the abovementioned v
Page 73 and 74:
image, from museum as place for the
Page 75 and 76:
station, Shackleton’s grave, a co
Page 77 and 78:
attendants at the Louvre recently w
Page 79 and 80:
focused it is necessary to specify
Page 81 and 82:
In order to keep the focus of this
Page 83 and 84:
ideas of museum websites, and the m
Page 85 and 86:
passive consumer of content, the la
Page 87 and 88:
they can allow access to databases
Page 89 and 90:
The complimentary site refers to wh
Page 91 and 92:
the future, which he in reference t
Page 93 and 94:
However, even if museologists often
Page 95 and 96:
which exists as completely independ
Page 97 and 98:
make links between various objects.
Page 99 and 100:
what to expect in the galleries, wi
Page 101 and 102:
constitute a small portion of a mus
Page 103 and 104:
learner” is emerging. (Original e
Page 105 and 106:
of updates to a large number of int
Page 107 and 108:
problems. Users can subscribe to to
Page 109 and 110:
saw the Web as a means to integrate
Page 111 and 112:
archive in Vienna.” 210 The above
Page 113 and 114:
Figure 10 Gilbert and George video
Page 115 and 116:
“in the early days, leading up to
Page 117 and 118:
programme for concentrated listenin
Page 119 and 120:
With Tate Shots, a series of new vi
Page 121 and 122:
in Germany, Austria and Switzerland
Page 123 and 124:
from people with very diverse backg
Page 125 and 126:
preparing a visit or finding the sh
Page 127 and 128:
232 Ibid. 233 Ibid. Figure 17 A wor
Page 129 and 130:
interests are, is important if muse
Page 131 and 132:
4 CHAPTER 4 Evaluating the feasibil
Page 133 and 134:
podcasting was conducted by Pew Int
Page 135 and 136:
ecome very popular since the launch
Page 137 and 138:
Berlin and discussed the many ways
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
Page 145 and 146:
clearer in Case Study 3, there are
Page 147 and 148:
visitors. It can provide a very use
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
Page 155 and 156:
podcasting is fostering a range of
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.
Page 169 and 170:
types of podcasts primarily serve a
Page 171 and 172:
sixteen minutes long, which is slig
Page 173 and 174:
guide format: Curator-led tours or
Page 175 and 176:
emains the same, which is one of th
Page 177 and 178:
The author’s experience as a writ
Page 179 and 180:
people with visual impairments to e
Page 181 and 182:
understanding of the audience and h
Page 183 and 184:
case leads one to go and see it, ev
Page 185 and 186:
Listen to lectures in museums It se
Page 187 and 188:
adio shows, or that they can serve
Page 189 and 190:
hour and a half of a conference in
Page 191 and 192:
time. This person might not be awar
Page 193 and 194:
merely provide content as podcast b
Page 195 and 196:
Related to the question of how freq
Page 197 and 198:
AEC’s podcasts, but have not list
Page 199 and 200:
whether Nationalgalerie or Kunsthal
Page 201 and 202:
Have you ever listened to the Ars E
Page 203 and 204:
many, i.e. 12 respondents, have sai
Page 205 and 206:
Have you ever downloade d a museum'
Page 207 and 208:
Among all the 116 respondents, 90 h
Page 209 and 210:
two users who are consuming podcast
Page 211 and 212:
Another interesting outcome is that
Page 213 and 214:
are using podcasts on the move are
Page 215 and 216:
everyday life. It accepts that ther
Page 217 and 218:
7.3 Podcasting at the San Francisco
Page 219 and 220:
The following section will cite an
Page 221 and 222:
also he must have had also access t
Page 223 and 224:
As regards formality, one of the fi
Page 225 and 226:
very much. Yes, they are speaking i
Page 227 and 228:
The press release goes on describin
Page 229 and 230:
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
Page 237 and 238: Question 5: Does the podcast reflec
Page 239 and 240: 7.4.5 Explanation The interpretatio
Page 241 and 242: institution.” 359 As has been sho
Page 243 and 244: anything. Whether a podcast can con
Page 245 and 246: manageable proportions as well as t
Page 247 and 248: Based upon these discussions, Chapt
Page 249 and 250: A podcast is not an Audio Newslette
Page 251 and 252: few examples, which show a truly pr
Page 253 and 254: has shown that podcast users tend t
Page 255 and 256: there. In short, it is difficult to
Page 257 and 258: Discourse In this study the term di
Page 259 and 260: programme may be consumed, streamin
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
Page 269 and 270: take advantage of this new technolo
Page 271 and 272: Listening to the interviews you hav
Page 273 and 274: happy to answer technical questions
Page 275 and 276: unterschiedlichen Formaten der Ger
Page 277 and 278: subscribed to a particular RSS feed
Page 279 and 280: Now you are working with Antenna Au
Page 281 and 282: etween the two, a USB mixer called
Page 283 and 284: How easy is it to create RSS feeds?
Page 285: APPENDIX 2 Questionnaire for the Us
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
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?