Marie-Louise Kerr, Exhibition Curator – Back from the Dead
After my training session last summer with the Museum Outreach team, although I had attended another session to help out, I gave my first proper Touch Tour talk at the start of March. I was really excited about giving the tour – giving public talks is a regular part of my job but this felt like a new way of approaching the familiar. In the prep beforehand, Susan and I talked through the gallery space and display layout, thinking about good places to stop to talk and what hands-on elements might be incorporated. I thought through my usual talk information and where I should add additional descriptive elements to add interest or further details for the audience. The RNIB training was useful and made the process feel less daunting. What was even better was that it felt like a very natural way to approach talking to members of the public.
On the day itself, we were thrilled to have 14 people turned up (& 3 guide dogs!) and, although it was rather “cosy” in the Special Exhibitions Gallery, the audience were patient with the squeeze and the time it took to move people and set up chairs (Even the dogs didn’t make a fuss. Thankfully – howls could have been off-putting!). Even better they really engaged with the talk. It is always great when an audience laughs in the right places! There were questions and sharing of stories (including a gentleman who had met Dorothy Crowfoot Hodgkin and another who might have a family member who worked at the Dunn School when Florey was there), which I always enjoy and feel really adds to theses tours – I ended up learning things as well as having the opportunity to pass on what I have discovered during the exhibition research. Hopefully a win-win situation!
We ended the session by some group members making votives based on their own experiences of illness and antibiotics, which will be added to our artist-in-residence, Anna Dumitriu’s Ex Voto art installation within the Back from the Dead display.
The Touch Tour was a first for me but I really enjoyed every element, from the preparation to delivering the talk, and I very much hope to be involved in similar sessions again.
An important part of the project has been to meet up with all the other partners at regular intervals and hear what they’ve been up to with their Sensing Culture projects.
The most recent partner day was hosted by our lovely colleagues at Canterbury Museums Service at the Beaney museum. Having never been to the Beaney before, I was looking forward to exploring the galleries as well as hearing all about their Sensing Culture project.
One of the most enjoyable parts of the day was to hear the culmination of their Arts Award project. Blind and partially sighted children from 2 local schools had worked with composer Richard Navarro, to create musical pieces based on their interaction with objects at the Beaney and Canterbury Catherdral. It was wonderful to watch and hear their own compositions, as well as the extraordinary sight of one pupil “playing” the bird case! Using technology similar to that of used by some games consoles, he was able to move his hand across the front of the case and trigger the birdsong of some of the birds in the case. It was nice to see a different form of twitter for a change!
We were also able to visit the exhibition which displayed work produced during workshops carried out during workshops led by artists Wendy Dawes and Claire Buckley. You can read more about their fantastic project at canterburymuseums.co.uk/sensing-culture
It was interesting, not only to see the work, but to also hear how about all the work behind the workshops and to see how the Beaney had staged their exhibition and their advice on what had worked and was hadn’t. It was all food for thought and full of lots of good ideas for any future work we might do here at Oxford.
I signed up to do the RNIB training because it sounded interesting, but wasn’t sure how relevant it would be for my role as Collections Officer within the Life Collections. Within minutes of the training starting, I was hooked and could start to see the potential of it.
The training started off with an introduction about the project and what its aims are, highlighting what we can/ will be able to offer Blind and Partially Sighted (BPS) people in the museum sector. There was a fun element to the training, this included partnering up and having one person guide the other round the room, this highlighted how vulnerable people can feel without sight. Another fun exercise was describing an object and having your partner draw what you are describing – we did surprisingly well!
Then we got onto the tricky part – audio description! I’d never really considered what needs to be explained in an audio description, I assumed it would just be whatever is written on the label for that object. Oh how wrong I was! Learning how to include the label facts, as well as a physical description of the object with a limited word count was really interesting, and pretty hard. We had a practice on objects from across all the museums, I had a stereoscope and had no idea what it was, needless to say I struggled and had to be steered in the right direction by the trainers.
Finally, we put all our training to the test and split up into groups and headed out into the museum. We had to pick a 2D, 3D and a touchable object within the given area and write a tour that we could give to a BPS group. Describing the objects, giving facts about them, putting them into context within a case was hard, but then you also had to consider guiding the group to the objects. It was a lot to take on board, but each group did really well and we were all given pointers by the trainers as we went along to explain how we could improve our use of language, the amount of detail needed (e.g. how tall is the case) and reminding us that they will need to be told about obstacles that could be in their way.
I gained a lot from this training, thoroughly enjoyed it and have recommended that my colleagues do it when the opportunity arises. It’s started me thinking of ways that I could apply the techniques learnt to the tours I give behind the scenes in collections, and what Life Collections staff can offer our Outreach Education team to enhance their tours and sessions – possibly live insects and models.
Amoret Spooner, Collections Assistant, Entomology, Museum of Natural History
In September, I was invited to speak at the Access All Areas conference organised by the Oxford University Museums Partnership in association with the Jodi Mattes Trust.
It was a great opportunity to spread the word about the Sensing Culture project but to also learn about the work that’s being carried out across the museum sector to make our venues more accessible to all visitors.
One thing that occurred to me as I was preparing my presentation, which I would not have thought about before this project, was – how do I make sure I make the presentation as accessible as possible?
The presentation was going to be interpreted by a BSL signer, but I wanted to make sure that any blind or partially sighted members of the audience were catered for.
It’s easy to slip into the same old routine of Powerpoints with lots of text and images. The traditional way of engaging people through presentations relies quite a lot on visuals, images, videos and animations etc., but I had come to realise that this may not be appropriate for many members of the audience.
So I did some research and found that carrying out a few simple changes, I could make sure my presentation was more accessible.
The key things that I took on board were to:
- Limit the amount of text that was on the slide
- Read out any text that was included
- Choose a sans serif font
- Make sure it is at least 18 point
- Make sure there was high contrast between the text and the background
- Describe any images that are included
These were very simple, but effective principles which I hoped made the presentation more accessible.
A lot of the principles are the same as that for accessible design, but it was the practice of describing any images that were included that I think made a big difference. It was a really good opportunity for me to be able to put some of the audio description skills I had learnt when dealing with the museum setting in practise in a different context.
As part of the project we’ve been looking at different ways we can introduce tactile opportunities within the museums.
So we were really excited when a large parcel arrived at our office.
The swell printer allows us to make raised images to help interpret objects on display that can’t be touched.
It works using specially designed paper that reacts with heat. You just print out your image onto the paper using a normal printer, then pass it through the heater as you would a laminator. Then the magic happens!
The black inky lines react with the heat and swell up, making raised lines on the paper.
It has allowed us to enhance our touch tours and provide a bank of images that can be used again and again. It’s a really great way of communicating patterns, textures and shapes of objects that we are not allowed to touch. It is also a really quick process, allowing us to react to visitors’ needs, as and when required.
We’re still learning about how to create the best images that work well for the audience – but we’re getting a lot of positive feedback from our users.
Oxford University IT department runs an IT innovation grant, looking for project ideas from staff which involve the innovate use of technology in a wider range of different areas.
Throughout the project, we noticed how well raised images can help use interpret our collection during the touch tours. But again, we saw that it only really worked when there was a member of staff or volunteer on hand to help guide the user through the image and describe various aspects of the image. We felt there could be a potential project in discovering how sound could be embedded into the images, in a way that would allow the users to explore the images how they wanted to.
We were lucky enough to be awarded a grant for an 18 month project which will look at developing raised images of the Ashmolean’s artworks that will also have embedded audio.
We were only able to achieve this grant funding do to the work and partnerships that has already been carried out through the Sensing Culture project. We also have established links within the blind and partially sighted community which we can help us ensure we work in partnership to ensure whatever we produce meets the needs of our audience.
We were able to see an opportunity for progressing the work we’ve been doing with Sensing Culture and move it forward into an exciting new area.
One of our most successful touch tours so far at the Museum of Natural History has been a tour of their “Microsculpture” exhibition.
As usual, the tour was split into 2 sections. In the first half, we explored the exhibition, describing these enormous and absolutely beautiful images of the smallest specimen’s in the museum’s collection. Our swell paper printer really added to the experience, allowing visitors to feel the outline structures of these amazing creatures.
Next was the handling section of our tour. Now, the only thing that is touchable in this collection are the insects themselves! Insect handling is usually one of the highlights of any outreach or family session that we do and we wanted our touch tour participants to have access to the same experience.
Luckily everyone was quite game more than happy to join in and had a fantastic time holding cockroaches, millipedes and stick insects.
However, not everyone will be comfortable doing this. This is one particular instance when the usefulness of 3D replicas became apparent. Having a model would be incredibly helpful. But it was also important to the entomology staff that it shouldn’t just be any old model of an insect that was used, but one that was as accurate as possible.
They were interested to see if this scientific accuracy in the model was as important to our visitors. We were able to test this out as they had a small model of a cockroach that had been made for them. This model had been made from a mould of an actual cockroach from the museum’s collection and so was completely scientifically accurate.
And it turned out that the thing the visitors at the touch tour loved about the model was it’s accuracy. They could feel every little hair on its legs and the feathering of its’ antennae. And they got to explore it really closely, more than they did the live specimens. So we’re looking into whether there might be an opportunity to produce more of these kinds of replicas in the future.