The Art of the Museum Podcast Tour
From LIS5313
Contents |
[edit] Introduction
Over the past few years, podcasting has become more prevalent in information organizations. Newspapers use it to report stories online, libraries use it to distribute interviews or other relevant information, and now museums are using podcasts to distribute information and even give tours through their exhibits. This phenomenon has the potential to reach and educate millions of people. It is relatively cheap to produce. And it is contained either on a computer or a tiny, handheld device. Technology is amazing.
[edit] A Brief History of Podcasting
Chris Kretz notes that “the word ‘podcasting’ first appeared in print in February 2004 (Hammersley), minted from a combination of ‘broadcasting’ and ‘iPod.’ The term marries Apple’s best-selling and near-ubiquitous iPod MP3 player to the practice of audioblogging, the posting of audio files on a blog” (2007, p. 35). So, podcasting is relatively new to information organizations. Lamb and Johnson explain that “what distinguishes a Podcast from other multimedia files distributed on the Internet is the addition of a web feed that allows users to subscribe to the audio program” (2007, p. 54). And, although the name implies that the technology should be used with an iPod, Stephens (2007) explains that this is not the case; rather, they are compatible with all mp3 players and can even be burned onto CDs (p. 54).
Kretz also notes that:
"There are three steps in this system of podcasting syndication:
1.An audio file is uploaded to the web.
2.An RSS 2.0 feed is associated with the file and also uploaded to the web.
3.The feed is read by a podcatcher application, which then downloads the audio file." (2007, p. 36)
As can be seen from Kretz’s description of how a podcast gets to a listener, the concept of podcasting is fairly simple and, with a little bit of technical knowledge, anyone can create one. Kretz (2007) further notes that there are several uses for podcasts within a library which, in turn, implies that there are multiple uses for podcasts in other information organizations as well. For example, he explains that “podcasts can be used to enhance and expound upon exhibits currently on view as well as provide a surrogate experience for those who cannot physically visit the library” (Kretz 2007, p. 37). This statement, however, can be applied to museums as well. With a photograph tour and a podcast, a patron could easily “visit” a museum from the comfort of his own couch. In fact, Kretz (2007) even explains an example of such a tour in a library environment, mentioning that the tour at the Loyola Marymount University Library “is an enhanced podcast, with embedded images of library locations that change as the tour progresses” (p. 43). If a library can create this, then it would be very easy for a museum to do so as well.
[edit] Podcast Tours of Museums
Thomas Selma states that “podcasting has virtually replaced more formal audio tours and given visitors the tools for creating their own ‘introductions’ and guides to museum exhibitions” (2007). Selma elaborates on this point further, suggesting that podcasting “has given visitors and museums alike the means to circumvent proprietary audio systems. Instead, anyone can write their own exhibition tour, for example, and post it on the Web. Visitors—to either the actual museum or the Web site—can download the tour onto their own iPods. The tools of production have been democratized, giving museums and producers everywhere the means of creating exhibit media” (2007). In a nutshell, podcasts create better accessibility to the information that is disseminated by museums. Samis and Pau expand upon this point with the suggestion that “given the ubiquity of content creation hardware and teens’ familiarity with content manipulation, it seems natural that museums should look to podcasting as an unprecedented opportunity for more effectively reaching out to a wider and younger audience” (2006).
Another suggestion is that the podcast tour has replaced other museum audio tours because of its compact nature. Samis and Pau explain that “as audio technologies have evolved, so have the nature and tone of the audio tour. The cumbersome players of the earliest incarnations have given way to generations of ever more portable alternatives—from audio cassette players to handheld devices to wands and MP3 players that can be used with one hand” (2006). What Samis and Pau do not mention is that some MP3 players allow users to be completely hands-free. The iPod Shuffle, for example, clips on to clothing and it weighs next to nothing. Wearing one of those is much more preferable to wearing a bulky tape player.
[edit] Other Ways Museums Can Use Podcasts
Some museums are using podcasts for other purposes than delivering audio tours. Walter Witschey, et al. discuss some of these other methods in “Museums in Transition.” They explain that “museums are finding podcasts are an effective way to reach their audience outside of the museum environment—as well as a way of inviting new voices into the museum. The Museum of Science in Boston, for example, is recording interviews with all of the museum’s guest lecturers and making them available as podcasts on the museum’s website and through iTunes and other online music stores” (Witschey, et al. 2006). This is a great alternative to having to be present at a lecture in order to benefit from its contents. With these audio capabilities and a museum willing to utilize them, people around the world can hear a lecture and feel like they are able to grasp the ideas of the presenter without having to travel to the presentation site.
Another example is happening at the San Francisco Museum of Modern Art. Witschey, et al. note that this museum’s “monthly ArtCast is composed as an audio zine with interviews with artists or curators, recordings of an artist’s writings, and interviews with visitors as they are looking at the works of art” (2006, p. 8). This type of podcast is a great alternative to a print publication of a similar sort. First of all, it is less expensive to produce. Secondly, it allows interested parties to take in all the information without having to sit down and read it. This is educational information that individuals can get on the go.
[edit] Podcasting at the Georgia Museum of Art
One museum that has put a lot of effort into podcasting is the Georgia Museum of Art, which is located at the University of Georgia. Only one of the podcasts from this museum is listed on The Global Museum Podcast Index. However, it is listed specifically as a tour. With a little curiosity, one can explore the website of the Georgia Museum of Art and discover that there are, in fact, more podcast tours available on the Podcasts section of the website. In email correspondence on 3 December 2007, Dr. Paul Manoguerra explained that the museum began using podcast tours in May of 2006 and they have been used sporadically since then. He also noted that the Georgia Museum of Art may use podcasts for other purposes in the future, but they have received positive feedback for their current guides and intend to keep using podcasting in that manner for the time being. According to the Podcasts section of the website, curators at the museum create the podcasts with support from Jackson Spalding Public Relations.
Dr. Manoguerra also discussed the benefits of podcast guides to the Georgia Museum of Art by noting that “as a university museum, we are always looking for ways to connect and re-connect with the student population.” Perhaps that is another reason that podcast guides and museum podcasts have become so popular in general: the museums are looking to target and draw in a younger population. Dr. Paul Manoguerra is the Curator of American Art at the Georgia Museum of Art and he is responsible for four of the six podcast tours that appear on the Museum’s website.
[edit] The Benefits of Podcasting
Podcast guides can provide a wealth of benefits to a museum. In email correspondence on 3 December 2007, Dr. Paul Marty explained that “the key benefit of a podcast guide over a regular audio tour is that podcasting is a form of push technology: the podcast subscriber automatically receives updates each time a new podcast is created.” If the podcasts automatically show up then it becomes very easy for users and patrons to listen to them. They do not lose time by having to wait around for something download and they do not have to travel to the museum to listen to the podcast. Dr. Marty suggests that podcasting allows museums to deliver information with little effort on the part of the patron and, with technology ever evolving, this kind of system is important to be able to keep patrons continuously interested in museum information. Dr. Paul Marty is an Assistant Professor in the College of Information at Florida State University.
[edit] The Negatives of Podcasting
Dr. Manoguerra suggests that the negative aspect of a podcast tour would be that it distracts patrons from actually absorbing the exhibit because they are too busy listening to the information. Dr. Marty, on the other hand, mentions that some think there is a “lack of an authoritative voice,” but he disagrees with this argument, suggesting that podcasts “serve to complement the museum’s authority, not replace it.” Lamb and Johnson caution listeners about this issue. They suggest that “because anyone with a microphone and access to the Web can create a Podcast, it is important to consider the authority of the author. Many interesting programs lack credibility when they fail to distinguish fact from opinion or provide inadequate citations” (2007, p. 54). Perhaps a way to add to the authority of a podcast, and clear up the argument that Dr. Marty mentions, is to create podcasts like the ones that appear on the website of the Georgia Museum of Art. Each of those podcast guides is labeled with the name of the person who delivers it, all of whom are curators at the museum, and if the patron desires, he can click on a link to read the staff biographies.
[edit] Conclusion
With regard to podcast tours as audio guides at museums, it seems as though the pros greatly outweigh the cons. Not only are patrons able to utilize smaller technology than the bulky tape players, but also they are able to use their own technology. The tours download at the click of a button and often occur in several segments so that patrons can pick and choose what tracks they wish to hear; though, this is not the case at the Georgia Museum of Art. The Georgia Museum of Art has separate podcast guides for each exhibit but they do not split up the tracks within the exhibits. However, the guides that they provide are relatively short in nature, with quick bursts of information that encourage the museum patrons to further explore the exhibit. This falls along the lines of what Dr. Manoguerra mentioned podcast guides should do. He noted that they should not distract from the exhibit; rather they should encourage patrons to become more curious about it.
Podcast tours also seem like an unavoidable addition to museum audio tours because they target younger crowds and encourage them to enjoy absorbing knowledge. There is no better way to ensure patrons keep coming into a museum than to target those who will enjoy it, grow up, and bring their own kids to visit in the future. Also, teenagers and college-aged students often walk around public places with headphones attached to their ears. By putting an audio tour into a podcast guide format, no one will know if they are listening to music or a tour—it gives them a way to look cool and learn at the same time.
[edit] Media Example
This is a sample podcast guide to demonstrate the elements of a successful one. The museum and exhibit mentioned within the podcast guide are completely fictional and are not based on any actual museum or exhibit.
This audio clip is intended to be the first in a series of tracks for a podcast guide for an exhibit. It provides a brief amount of introductory information and then gives the patron the option of exploring the exhibit without an audio guide or continuing on to more detailed information.
The music in this podcast is entitled Going South and is by ccMixter user HC-7. It is licensed under a Creative Commons Attribution-Noncommercial 2.5 Generic License. I also briefly consulted the Walker Evans (Getty Museum) page for information on Walker Evans.
[edit] References
J. Paul Getty Trust n.d., 'Walker Evans (Getty Museum).' Available from http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1634 [13 December 2007].
Kretz, C 2007, 'Podcasting in libraries' in Library 2.0 and beyond, ed. N. Courtney, Libraries Unlimited, Westport, pp. 35-48.
Lamb, A & Johnson, L 2007, 'Podcasting in the school library, part 1: integrating podcasts and vodcasts into teaching and learning', Teacher Librarian, 34, 3, pp. 54-57.
Samis, P & Pau, S 2006, ' 'Artcasting' at SFMOMA: First-year lessons, future challenges for museum podcasters broad audience of use', in J. Trant and D. Bearman (eds.). Museums and the Web 2006: Proceedings, Toronto: Archives & Museum Informatics, published March 1, 2006 at http://www.archimuse.com/mw2006/papers/samis.html. [1 December 2007].
Selma, T 2007, 'Media in the museum: A personal history', Curator, 50, 1, pp. 159-165.
Stephens, M 2007, 'All about podcasting', Library Media Connection, 25, 5, pp. 54-57.
Witschey, W, Parry, HJ, Maurakis, E, Hagan, D, et al. 2006, Museums in transition: Emerging technologies as tools for free-choice learning. Available from http://museumdetective.com/viewfile.php/users/28/3/MuseumsInTransition.pdf [18 November 2007].
[edit] Resources
[edit] Museums Mentioned in this Report
- The two links above will connect to the main page for the Georgia Museum of Art and to their podcast directory. This museum was discussed in detail in this wiki report; the podcasts are all audio guides.
- The two links above will connect to a museum that was mentioned, but not discussed, in this report: The Museum of Science, Boston. The podcasts that this museum produces are of interviews with a variety of people. This is another way that museums can use podcasts.
- The two links above connect to another museum mentioned, but not discussed, in this report: The San Francisco Museum of Modern Art. This museum utilizes podcasts aside from audio tours.
[edit] Museum Podcast Indices
- This site has audio tours in several different languages. Clicking on the English button provides information about a few different museums and their podcast tours.
- This is one of the most extensive lists of museum podcasts, but not all of them are audio tours.
- This is another fairly extensive directory of museum podcasts but again, they are not all audio tours. A benefit to this index is that they include descriptions with most of the podcasts they list.
[edit] For Further Reading
- This is a link to the Wikipedia entry on podcasting, which gives a good basic overview of what it is. It also provides links to entries on the History of Podcasting and other relevant entries and websites.
- This article, published in The New York Times, discusses podcasting at museums in general; the article is not limited to discussing podcast tours.
- This article, published in The New York Times, discusses Art Mobs, a group that produces unofficial audio guides for MoMA, and the increase in the popularity of museum podcast guides in general.
[edit] Recommended by Dr. Marty
- Art Mobs is a group of students at Marymount Manhattan College who decided, with their professor, to produce unofficial audio tours for the Museum of Modern Art in Manhattan.
- Dr. Marty recommended this paper as a place for museums to start if they are interested in podcasting; however, it is a great resource for podcasting in general. Dickson takes his reader, step-by-step, through the process of creating, syndicating, and advertising a podcast.
[edit] Interviews
I interviewed two people for this project. Dr. Paul Manoguerra is the Curator of American Art at the Georgia Museum of Art. Dr. Paul Marty is an Assistant Professor in the College of Information at Florida State University. Both have given me permission to post the transcripts of their interviews within this report.
[edit] Interview with Dr. Paul Manoguerra
Here is the transcript of Dr. Manoguerra's interview.
[edit] Interview with Dr. Paul Marty
Here is the transcript of Dr. Marty's interview.
