gramophones in the gallery
DESCRIPTION
Charting the museum's adoption of media in the gallery and beyond. Slides for paper given at the Museum Ethnographers Conference in Brighton, April 2013TRANSCRIPT
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Gramophones in the GalleryCharting the museum’s adoption of media in the gallery and beyond
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Museums have always been media producers
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Museums have always been media producers
• Right from the outset, museums were publishers
• Their “product” fell into 3 main categories:
– “inventory catalogue” – collection data
– “expository guide” – an enhanced listing, to act as portable
captions for the visitor
– “presentation volume” – a prestige format edition, a highly
illustrated representation of the museum, often given to
dignitaries, high ranking stakeholders etc. (Waterfield, 1995)
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Museums have always been media producers
Dusseldorf Gallery:
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American Museum of Natural History 1908
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American Museum of Natural History 1908
• In 1908, the American Museum
of Natural History used coin
operated gramophones to
enhance their Tuberculosis
exhibition
• The exhibition was an early
“blockbuster” attracting over
750,000 visitors in a seven-
week run (Griffiths, 2007)
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Media innovation within the museum
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Media innovation within the museum
• The first planetarium was set up
at the Deutches Museum,
Munich in 1923
• The technology was developed
by Carl Zeiss, a local
photographic lens-maker who
went on to establish a
significant photography
component brand
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Film
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Film
• Museums were using film in the
field as early as 1912
• In the 1920s and 1930s many
installed small film projection
theatres
• Dedicated in-gallery units
appeared in the 30s. This is a
“Dramagraph” from the AMNH
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The first audio guide
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The first audio guide
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The first audio guide
• The Stedelijk Museum in the
Netherlands and electronics
giant Phillips developed the first
audio guide
• It broadcasted from a central
recording, via a form of
induction loop in the building’s
skirting boards
• Picked up by a wireless receiver
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Broadcasting: “What in the World?”
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Broadcasting: “What in the World?”
• A game show format broadcast
from 1951 on CBS
• Chaired by Froelich Rainey,
director of the University of
Pennsylvania Museum of
Archaeology and Anthropology
• Featured curators and other
experts from around the USA &
guest stars like Vincent Price
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Computer technology
• Graphical user interfaces for
relatively low-cost computers
emerged in the mid 1980s
• Some museums quickly adopted
the technology to enhance their
exhibition spaces
• For example, the Smithsonian
Institution's “Laser at 25” (1988)
featured animations, laser
configuration simulation and
quizzes
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www
• The world wide web (as an
distinct service within the wider
network of the internet) began
to take off in the mid 1990s
• “Early adopter” museums
included University of California
Museum of Palaeontology at
Berkeley, The Natural History
Museum and Museum of the
History of Science, Oxford
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BYOD (Bring Your Own Device)
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Apps
• Explorer: The American Museum
of Natural History
– Released 15th July 2010
– Later introduced satnav-like “turn
by turn” navigation around the
galleries
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World Stories Young Voices
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World Stories Young Voices
• Surface Impression was commissioned to produce the
AV (audio visual) content for the gallery
• Our strategy was to unify as much of the media output
into one digital platform as we could
• Film, information, interaction and audio are delivered
from one central resource, but consumed on the gallery
screens, the web or through the visitors’ mobile devices
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Production network
KioskScreenMobileOwn
computer
Content
Responses
TextsClipsClipsImages
Editing
Raw material
Processing
Platform
Audienceinterface
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KioskScreenMobileOwn
computer
Content
Responses
TextsClipsClipsImages
Editing
Object
Object
Object
Curatorial
Source community
Interpretation
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KioskScreenMobileOwn
computer
Content
Responses
TextsClipsClipsImages
Editing
Object
Object
Object
Curatorial
Source community
Interpretation
Graphic designer
Web developer
Film maker
Exhibition designer
IT supplierFit out contractor
Copy writer
Project management
OrganisationScholarly texts
PeersFunders
Stakeholders
Device manufacturer
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KioskScreenMobileOwn
computer
Content
Responses
TextsClipsClipsImages
Editing
Object
Object
Object
Curatorial
Source community
Interpretation
Graphic designer
Web developer
Film maker
Exhibition designer
IT supplierFit out contractor
Copy writer
Project management
OrganisationScholarly texts
PeersFunders
Stakeholders
Device manufacturer
Source
Reception
E N C O D I N G
Museum
Media production
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KioskScreenMobileOwn
computer
Content
Responses
TextsClipsClipsImages
Editing
Object
Object
Object
Curatorial
Source community
Interpretation
Graphic designer
Web developer
Film maker
Exhibition designer
IT supplierFit out contractor
Copy writer
Project management
OrganisationScholarly texts
PeersFunders
Stakeholders
Device manufacturer
Source
Reception
Museum
Media production
E N C O D I N G
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KioskScreenMobileOwn
computer
Content
Responses
TextsClipsClipsImages
Editing
Object
Object
Object
Curatorial
Source community
Interpretation
Graphic designer
Web developer
Film maker
Exhibition designer
IT supplierFit out contractor
Copy writer
Project management
OrganisationScholarly texts
PeersFunders
Stakeholders
Device manufacturer
Source
Reception
Museum
Media production
TextsClipsClipsImages
Editing
InterpretationYoung people
Young people
Young people
Young people
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KioskScreenMobileOwn
computer
Content
Responses
TextsClipsClipsImages
Editing
Object
Object
Object
Curatorial
Source community
Interpretation
Graphic designer
Web developer
Film maker
Exhibition designer
IT supplierFit out contractor
Copy writer
Project management
OrganisationScholarly texts
PeersFunders
Stakeholders
Device manufacturer
Source
Reception
Museum
Media productionR
E S P O N S EE
N C O D I N G
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Peter Pavement
www.surfaceimpression.com
@peterpavement