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

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originality. The key point of this chapter was to highlight that there are changes in the triangular relationship between objects, museums and audiences. Based on the discussion above (drawn from an extensive literature review, interviews with key curatorial staff and debates with academics at some key conferences on museums 123 ), there is evidence, which suggests that objects in museums, whether executed in traditional or digital media, can be seen as Media objects. It was argued that the way artists produce, and the public consumes, works of art has changed and that this has also changed the notion of what an authentic experience of a work of art is. With the analysis of Simon Faithfull’s project this discussion has aimed to demonstrate that digital media do not threaten the primacy of the original. Rather, it has been argued that if one accepts that one can have an authentic experience of art via digital media, then the immateriality, reproducibility and migratablility of media objects allow museums to respond to contemporary communication behaviours, where the access to authentic and original content is offered through various channels and in multiple formats. Together these two strands of our argument have thus far attempted to show that in the Media Age, an authentic experience of original art may be experienced in the museum as well as on various different devices, from personal computers to mobile phones. From these discussions, we are left with the idea that Media Objects have radically changed the experience of museums. Museums of the Media Age may be experienced onsite as well as online. Before our narrative goes on to unpack this statement further, there is one more question that ought to be addressed. Developments of online technologies and services are moving at a very rapid speed. The impact of these developments is affecting different sectors in various ways. In any case, and in order to stay 123 UK Museums and the Web Conference 2006 http://www.museumscomputergroup.org.uk/meetings/2-2006.shtml, Spring School in New Media 2005 and 2006 http://www.le.ac.uk/ms/contactus/rossparry.html, EVA Berlin 2006 http://www.gfai.de/pinboard/eva/d_main_bln2006.html and MAI Tagung 2006 and 2007 http://www.mai-tagung.de/ (as of 10.1.2008). 77
focused it is necessary to specify more clearly what technologies and what developments are being meant here. The next chapter aims to do that. Whereas this chapter explored the museological context, the following chapter will investigate the technological framework in preparation for the second part of this thesis. That second part will then draw these two contexts – the technological and the museological – very closely together. 78
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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
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: attendants at the Louvre recently w
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
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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
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Cultural Broadcasting Archive http:
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Petrie Museum http://www.petrie.ucl
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