Exhibition as mass communication: critical studies of multi-modal communicative environments

Generally, the literature on mass communication research ignores exhibition; that is, it does not investigate and provide any theories about the communicative function of trade show exhibits, museum exhibitions, and international expositions, particularly in their most advanced forms as multimedia spatial formations. This paper considers the reasons for the lacunae particularly in critical approaches to historical, cultural and philosophical perspectives on exhibition. It also identifies fields of research that the academic community are encouraged to explore

Usability evaluation of a virtual museum interface

The Augmented Representation of Cultural Objects (ARCO) system provides software and interface tools to museum curators to develop virtual museum exhibitions, as well as a virtual environment for museum visitors over the World Wide Web or in informative kiosks. The main purpose of the system is to offer an enhanced educative and entertaining experience to virtual museum visitors. In order to assess the usability of the system, two approaches have been employed: a questionnaire based survey and a Cognitive Walkthrough session. Both approaches employed expert evaluators, such as domain experts and usability experts. The result of this study shows a fair performance of the followed approach, as regards the consumed time, financial and other resources, as a great deal of usability problems has been uncovered and many aspects of the system have been investigated. The knowledge gathered aims at creating a conceptual framework for diagnose usability problems in systems in the area of Virtual Cultural Heritage

Show or tell? Opportunities, problems and methods of the exhibition as a form of research dissemination

There has a been a good deal of debate about the possible use of exhibitions in disseminating research, as an alternative to conventional text papers where artefacts have a significant role in the research The European Academy of Design has been a pioneer in this area but, so far, there has been little documentation of this practice or constructive reflection to support future development. The authors were responsible for the organisation of an exhibition of research work at the 2002 "Common Ground" Conference of the Design Research Society. Their role included mentoring the exhibitors, making the practical arrangements for the exhibition and organising refereeing of exhibits by an international panel of referees. The exhibition demonstrated the potential for new forms of research dissemination but also highlighted a number of problems and issues which must be dealt with if future exhibitions are to provide a robust and appropriate way to present and record research outcomes. The reflections of the organisers, and comments of referees and exhibitors are employed in this paper to develop guidelines for future practice in research exhibitions, paying particular attention to the importance of providing a full narrative within the exhibit and a permanent record, and ways that exhibitions might change the format of conferences to allow more constructive engagement between participants. </p

Making Exhibitions, Brokering Meaning: Designing new connections across communities of practice

New media museum exhibits often see designers representing the research of expert content providers. Despite perceptions that such exhibits provide museum visitors with a greater depth and range of experience, differences in knowledge and practice between designers and content providers can see content development become an unruly, competitive process in which audience experience, digital mediation, visualisation techniques and meaning become contested territory. Drawing on Etienne Wenger’s theory of “communities of practice”, this paper argues that designers’ advocacy for audiences and distance from exhibition content well positions them to broker interdisciplinary goal setting so that exhibitions observe the representational objectives of content providers and meet the needs and preferences of museum visitors. A wide range of design literature already discusses the pragmatic benefits and ethical importance of user-centered design, while the literature on co-design suggests that designed outcomes are more successful if the design process considers the interests of all stakeholders. These discussions can be compelling, but the inherent challenges in engaging others’ perspectives and knowledge in the design process are less acknowledged, Wenger’s ideas on the social dynamics of group enterprise offering designers valuable insights into the actuality of negotiating designed outcomes with non-designer stakeholders. The paper has two main aspects. The first outlines the theory of communities of practice, focusing on the brokering of knowledge and practice between disciplines. This discussion frames an analysis of the design process for two museum exhibitions. Representing an original application of Wenger’s ideas, the discussion recognises the unique role of the designed artifact in brokering information visualization processes, transcending the actions and intentions of individual stakeholders. While accepting there are successful examples of interdisciplinary exchange in various areas of design, the interpretation of examples via Wenger contributes useful principles to the theorisation of co-design with non-designer stakeholders. Keywords: Information visualization; New media museum exhibits; Multidisciplinary projects; Communities of Practice; Brokering; User-centered design; Co-Design; Etienne Wenger</p

Promising Beginning? Evaluating Museum Mobile Phone Apps

Since 2009 museums have started introducing mobile apps in their range of interpretative media and visitor services. As mobile technology continues to develop and permeate all aspects of our life, and the capabilities of smart phones increase while they become more accessible and popular, new possibilities arise for cultural institutions to exploit these tools for communicating in new ways and promoting their exhibitions and programmes. The use of mobile apps opens up new channels of communication between the cultural institution and the user, which extent to his or her personal space and go beyond the boundaries of the museum’s walls. The paper presents a survey carried out of mobile apps designed by art or cultural historical museums and analyses the wider issues which are raised by the findings. It discusses, among others, the kind of use these apps were designed to fulfil (e.g. the majority are guided tours to the permanent collections or to temporary exhibitions), the layering of content,and the type of user interaction and involvement they support

Slovenian Virtual Gallery on the Internet

The Slovenian Virtual Gallery (SVG) is a World Wide Web based multimedia collection of pictures, text, clickable-maps and video clips presenting Slovenian fine art from the gothic period up to the present days. Part of SVG is a virtual gallery space where pictures hang on the walls while another part is devoted to current exhibitions of selected Slovenian art galleries. The first version of this application was developed in the first half of 1995. It was based on a file system for storing all the data and custom developed software for search, automatic generation of HTML documents, scaling of pictures and remote management of the system. Due to the fast development of Web related tools a new version of SVG was developed in 1997 based on object-oriented relational database server technology. Both implementations are presented and compared in this article with issues related to the transion between the two versions. At the end, we will also discuss some extensions to SVG. We will present the GUI (Graphical User Interface) developed specially for presentation of current exhibitions over the Web which is based on GlobalView panoramic navigation extension to developed Internet Video Server (IVS). And since SVG operates with a lot of image data, we will confront with the problem of Image Content Retrieval

Evaluation Strategy for the Re-Development of the Displays and Visitor Facilities at the Museum and Art Gallery, Kelvingrove

No abstract available

Museums as disseminators of niche knowledge: Universality in accessibility for all

Accessibility has faced several challenges within audiovisual translation Studies and gained great opportunities for its establishment as a methodologically and theoretically well-founded discipline. Initially conceived as a set of services and practices that provides access to audiovisual media content for persons with sensory impairment, today accessibility can be viewed as a concept involving more and more universality thanks to its contribution to the dissemination of audiovisual products on the topic of marginalisation. Against this theoretical backdrop, accessibility is scrutinised from the perspective of aesthetics of migration and minorities within the field of the visual arts in museum settings. These aesthetic narrative forms act as modalities that encourage the diffusion of ‘niche’ knowledge, where processes of translation and interpretation provide access to all knowledge as counter discourse. Within this framework, the ways in which language is used can be considered the beginning of a type of local grammar in English as lingua franca for interlingual translation and subtitling, both of which ensure access to knowledge for all citizens as a human rights principle and regardless of cultural and social differences. Accessibility is thus gaining momentum as an agent for the democratisation and transparency of information against media discourse distortions and oversimplifications