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

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CONCLUSION PODCASTING AS A MEDIUM TO INTERPRET AND COMMUNICATE ART ................................................................................................................... 245 GLOSSARY ...................................................................................................... 255 APPENDIX I..................................................................................................... 260 APPENDIX II ................................................................................................... 285 BIBLIOGRAPHY............................................................................................. 293 5
TABLE OF FIGURES Figure 1 Three stages of analysis, as adapted from Fairclough ....................................... 35 Figure 2 Searching the ‘making the modern world’ website ........................................... 45 Figure 3 Screenshot of ‘making the modern world’ website ........................................... 45 Figure 4 Gilbert & george, death hope life fear as presented on Tate Online .................. 65 Figure 5 Images of Shibboleth by Doris Salcedo on Tate Online.................................... 65 Figure 6 Doris Salcedo talking about Shibboleth in Tate Shots....................................... 66 Figure 7 Fragment of a tag cloud.................................................................................... 80 Figure 8 Tate's rss feeds............................................................................................... 106 Figure 9 Towards the 'channel model of a website'....................................................... 111 Figure 10 Gilbert and George video on Tate Online....................................................... 112 Figure 11 Gilbert and George podcast on iTunes............................................................ 112 Figure 12 Gilbert and George video on YouTube........................................................... 113 Figure 13 The museum as producer................................................................................ 117 Figure 14 Rogier van der Weyden on the website of the Kunsthistorisches Museum...... 121 Figure 15 Turner collection on Tate Online.................................................................... 121 Figure 16 The Brooklyn Museum’s Flickr album........................................................... 125 6
Page 1 and 2: Researching podcasting in museums:
Page 3 and 4: TABLE OF CONTENTS ABSTRACT ........
Page 5: DEVELOPING A TYPOLOGY OF MUSEUM POD
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
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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
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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
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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
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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
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Figure 10 Gilbert and George video
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“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
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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
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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
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ecome very popular since the launch
Page 137 and 138:
Berlin and discussed the many ways
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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
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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
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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
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5.8 Podcasts for before or after a
Page 161 and 162:
Figure 23 Dulwich Picture Gallery
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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
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guide format: Curator-led tours or
Page 175 and 176:
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
Page 185 and 186:
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
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
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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
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
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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
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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
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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
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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
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
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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
Page 271 and 272:
Listening to the interviews you hav
Page 273 and 274:
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
Page 297 and 298:
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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