Museum and media studies at wildwalk - Essay Example

Museum and Media Studies at Wildwalk By Devangini Mahapatra Chauhan The strings that hold us all together are many - and more than that, they are common threads that date back to centuries and generations long gone. On this philosophical note, I would like to assert that there is a great deal of importance attached to the study and preserving of our history and roots. While the subjects are vast, the elements of such studies form a large platform for determining the socio cultural and geographical implications of recorded history and work in the same context. In this regard, museums are more than just buildings that house pieces for children to enjoy on a field trip. This thought was accentuated during a recent visit I paid to the Wildwalk based in the centre of Bristol. As far as the conception of museums and their aims go, they work to reproduce ideologies in order to lend credibility and authenticity to the existing order of things. Also, museums have been seen as instruments of social reform, which shows a variety of pattern. The first is that the objects in museums can exceed their designated roles as documents or specimens by revolving around the strategic placement to make them give out a certain message in terms of sounds and images. This conforms to the notion of the Wildwalk adopting a certain standard of media culture. The primary role here is to correlate people and material things, so that the museum becomes an important site for the development of new forms of experience, memory and knowledge. In this case, it has adopted an approach that is an amalgamation of the naturalism and simulation theories. In case of naturalism, it has been found that the heritage industry gained a boost when Thatcher's time saw the commemoration of Britain's past when its industrial sector faced a decline in the 1970s. In order to keep the tourist inflow steady, there was a new interpretation of the past heritage and glory in terms of commoditization of a museum and its objects which have helped remove conflict within communities that have lost out on this heritage. (Bird et al, 1993) So far media culture was represented only in fields like film, music and television. But during the latter half of the twentieth century, this concept began to make its foray into various aspects that adhered to the public sphere. Museums now place special emphasis on the conept of media culture owing to the fact that it provides a strong conetxt for the study and presentation of facts pertaining to various material and socil behaviour. In this way, media in museum studies provides an impetus to link cultures and origins. This a point of interest for scholars and visitors alike owing to the fact that the use of media for learning and experiencing something new has been proven as an effective tool. (Piror, 2006) This demonstrates the fact that museums can be theorized as a form of media. To take the case of both historical and contemporary examples, one would have to admit that these examples are clear in international instances as well. Take for example, the play of curiosity and the related use of media to satisfy the same through the avant-garde exhibition design of Lissitzy and Bayer. Also, the use of media has seen the age of experimental museums that have been ushered in by the likes of Paul Otlet and Otto Neurath. Further, science centres hold their own in terms of immersive and virtual museums with major developments such as Guggenheim Bilbao, Tate Modern in London and the National Museum of the American Indian in Washington D.C. (Piror, 2006) Based in nuances of iconography, the media aspect of Wildwalk is replete in the fact that it is a rainforest crammed with all kinds of live animals, plants and multimedia exhibits, which are waiting to be experienced. We use the word experience because here, one is in close contact with the nuances of the the awe inspiring diversity of the natural world in its spelndor. With an impetus to place facts and information in one's knowledge base through the use of creativity in media culture, there's the IMAX Theatre, which is touted to be the biggest cinema screen in the Western part of the globe. In this context, it has been observed that the term naturalism has taken a new dimension where Bristol's Wildwalk is concerned. In order to render more entertainment value in terms of experience and smooth flowing information transmission for an educative process, the museum has used simulation as a theory that promotes the nuances of naturalism. The result of this interactive model is that you actually feel like you're in that rocket that is about to be launched. In this case, one can actually feel the force of the rocket launch. Further, there is also scope to take on the African serengati with a trip on a Wild Safari. The screen dimesions scale four storeys of a normal building while the sound is based on digital surround. With a strong emphasis on media and experience, the Wildwalk IMAX gives you a feel of the world's most impresive facts and experiences. In this context, the science and IMAX centres at the Wildwalk boast of world class techonlogy which brings to a note on relevance of media in this field. Media culture has emerged as a field that has portrayed varied experiences in varied lights. The prominence of media in museums, especially in the last century, shows a great deal of courage as far as creative dominance and standardisation in the same context go. At the wildwalk, one realises that the terms media and experience are interlinked. In context of the Wildwalk, media and cultural theory have an interesting marketing mix of sorts where the unique treatment of the museum as a media-form, and in its detailed and critical discussion of a wide range of display techniques has been represented through the use of tools that shape behavioural patterns as far as learning is concerned. Therefore, the use of media for enhanced experiences and shared learning is an indispensable tool to introduce the world to some of the key ideas, texts and historical identity formed thereof, which are of great relevance to the museum since the previous century. Therefore, in its beautiful botanical house, one will find a theme park pattern to show various kinds of plants and habitat in which they typically survive. The plants shown include tropical and others like those from a "forgotten kingdom" as well as "plants on land". With such interesting sections, the concept of simulation in presenting the museum as a media form is extended to include the concept of spectacle which demonstrates the media domination in experiences that are essentially of the "real world", yet unusual because of low accessibility to the same. (Debord, 2005) In this way, the spectacle stays longer in the memory and the information thus transmitted becomes a part of the knowledge base in a natural way. As far as learning patterns are concerned, there are many interesting trends that have come up in the Wildwalk in context of the museum being presented as a media form for enhaced experiences. In the Wildwalk, it was earlier been noticed that a majority of the adult visitors were resistant to the notion of tours in which they are asked to engage in dialogue. The use of interactive modes like the IMAX and science centre promoted a change in this attitude. Also, the display techniques have demonstrated a certain amount of curiosity building factors. This also promotes the cultural industry status to the learning process where the educators at the museum are concerned. It has been seen that inquiry is a strategy embraced by most museum educators, which makes it all the more important to pay attention to a lack of interest in getting serious responses where interactive methodologies are concerned. And this must come from all quarters. In this way, the experience of the museum as a media form enhances the sharing of a space where individual curiosity is satisfied through means of shared learning. This is apparent in the people and planets gallery where the lighting simply transforms a person to another level of imagination. The dome like display method with the beings and objects floating above and around the visitor in the tropical coral reef tank, also has a steady narrative quality about it, which lets the story of creation flow in the most scientific, yet most palatable way possible. The colors and the aura thrown over the visitor by this tank is calming. Also, getting the visitors so close to the creatures is a process that offers immense physiological stimulation through a muted participatory process. This also shows that the museum has taken to Baudrillard's theory of the simulacrum. Thus approach has a strong connection with postmodernist trends that have dominated and influenced the cultural industry. Also, when discussing the Wildwalk as a media form, this theory has special relevance owing to the fact that it is a departure from the 'real' simulation that comes from external factors, through a creation of larger than life conditions for a better experience. (Baudrillard, 1988) At the same time, Braudillard also maintains that simulation may basically revolve around the development of the simulation through something that does not exist in reality. Since the museum deals in realities of the past and the present, there would be a deviation in this theory in terms of the simulation process which is developed as a media form. Developing the museum as a media form has been extremely beneficial where the gathering and formulation of material like gallery talks for adults is concerned. This has been done by identifying the kinds of questioning strategies that are best employed when one needs to cater to the needs of an adult audience in particular. The reason for looking out for a separate strategy to lure adults into the museum space on a personal level is the fact that their learning curves are different from those of children, as are their patterns of learning. (Highmore, 2004) In this regard, Wildwalk has tried to explore the notion of "self-concept" that is singular to adult learning and it has come to conclusion that adults are self directing individuals whose responses depend widely on societal indices. Since they are interested in setting up their own kinds of education, they have come to demand autonomy in what they are taught, rather than a prescribed curriculum. Considering this independent aspect of adults, which sets them apart from children, the Wildwalk has presented itself as a media form that is capable of capturing the interest of the most average thinking adult. This is apparent in the Simple Beginnings gallery which has a simple and thus, effective format to break the freefall into awe inspiring display and graphic illustration techniques. This gives the sensibilities of people and children a rest before the real ride begins. Wildwalk has decided to pay special attention to this autonomous quality of adult learning in the formulation of its tours for adults. It has been recognized in museum studies that a "question-less" gallery tour may present the learners with a variety of facts related to museum objects. But the downside of this trend lies in the fact that it would also deprive adults of any agency. This would lead them to inhibit the "self-directed" aspect of their educational experience. This makes it imperative to follow a tour format that will adhere to their sensibilities and let them work their adult imaginations around the facts, without making the process a monotonous one. This is apparent in its special exhibition called In the Jungle, where learning is more interactive and activity based. There are activities here that kids will enjoy and adults will be tempted to join. With the answers glowing with different lights and other such options during the game, one is constantly entertained and constantly learning. This leads to self directed learning through an imaginary world of fun and games with larger than life props. Through this participative approach, there is psychological stimulation as well as social and cultural stimulation of the mind. Another factor in presenting the museum as a media form is that one should be able to apply a serious understanding of aesthetics which can transgress the boundaries of the study of objective beauty. This will promote the viewer to focus on the nature of subjective experience, which in turn, contributes to a more qualitative and wholesome analysis of the museum. This brings us face to face with the fact that cognition is not the only goal of a museum experience, where visitors must be given full scope to integrate what is learned with what is already known. This will further assist them in applying their new understanding to other aspects of their experience. (Highmore, 2004) As an example, one will find that in the simple beginnings section, there is more emphasis on the qualities of the species that relate to the present state of society in general through a study of their traits and other aspects that have influenced the species that have further evolved from them. This goes on to demonstrate the fact that as a media form, the museum has the full attention of its visitors and influences them positively in a long term way. The theory of the media form urges museums like the Wildwalk to reassert the primacy of the material object, without forgetting to accept responsibility for its diverse reception in order to cater to widespread needs where experiences and the sensibilities attached to the same are concerned. In this regard, any differences in the way an object is received will not face the risk of either being romanticized or trivialized. According to the media form model, visitors in such a situation will be respected to separate their own perspective from among those presented. The theory of the museum as a media form has been guided by the observation that museums have undergone a major shift in terms of operational value and the experience they offer to visitors thereof. Rather than being a mere building that presents of objects, the Wildwalk, through it varied tours and other attractions, has chose to be a site for experiences. In this context, the conception of the word experience implies that there must be adequate emphasis on physical interactivity and the visitor's social, psychological and intellectual comfort. (Colomina, 2001) In this way, the concept of a media form also has its foundation in the variety of the experiences it offers to the visitor. In this way, both concepts have an important role to play in relation with each other as far as defining the conceptual aims of museums go. In this regard, Wildwalk has decided to settle for a role where it acts as a conveyor of important concepts through their displays so as to indulge visitors with the same. This form of elementary analysis which revolves around the strategic positioning of objects in museums as both material presences and signifiers of meaning (often multiple meanings) is the central contribution of the museum's primary role. As one progresses through the various departments or centers at the Wildwalk, it becomes apparent that interpretation is a matter of finding meaning from the conscious development of certain habits that do not come from the sheer presence of multiple voices or the forced combination of the same - these habits are a matter of intentionally discerning and learning from difference between the two elements which in turn contributes to a more enriched experience. In this regard, the experience that Wildwalk offers in the arena of discerning and learning, is unparalleled in the entire world. Wildwalk offers a new balanced perspective on the natural world withfacts like over 95% of all animal species are smaller than the human thumb. In this way, Wildwalk prompts the visitor to look at these small creatures and many other forms of life from a whole new point of view. Therefore, through an emphasis on taking on the mantle of being a media form, this museum traces the journey from simple beginnings, to the complexity of modern living. And in the bargain, one drowns completely in the sea of live plants and animals, accentuated and brought to life by stunning images and sounds. Therefore, in conclusion I would assert that the gaps that have long existed between the known facts and a certain amount of curiosity reagrding the unknown has come to life and is bridged, as the far reaching result of process of commodification that have helped the museums gain equal footing with shopping malls as far as entertainment is concerned. This represents the new image of museums as a media form. The new audiences have emerged from the changing perspectives that have come from the variety of ways of seeing culture that suggest a revision of the media form's overly integrated account of discerning and learning. In this regard, power and social formations have opened the possibility to evelove an alternative, 'postmodern', approach to perception of the museum as an entertainment unit, through an emphasis on visual culture. (Baudrillard, 1998) References: Baudrillard, Jean "The Precession of Simulacra" Art after modernism, ed. Wallis, University of Michigan Press (1998) Baudrillard, Jean "Simulacra and Simulations", Jean Baudrillard, Selected Writings, ed. Mark Poster, Stanford; Stanford University Press (1988) Colomina, Beatriz. "Enclosed by Images: The Eameses' Multimedia Architecture." Grey Room 02 (winter 2001) Highmore, Ben. "Machnic Magic: IBM at the 1964-1965 New York World's Fair." New Formations 51, no.1 (2004) Piror, Nick, "Postmodern Restructurings", Macdonald (2006) Urry, John, Sharon, and Fyfe, Gordon (eds), "Theorizing museums", Oxford : Blackwell (1996) Debord, Guy, "Society of the Spectacle", London: Rebel Press (2005) Read More