Exhibit Design Relating to Low Vision and Blindness: Current Media Technology, Appropriate Application of Technology, Future Research Needs

Appropriate Situational Applications of Technology

Hands-on exploration is important whenever possible, whether through models or haptic representations, but technology can also offer access to exhibits through magnification or description. Descriptions can be audio files of recorded human voices, or text files of descriptions that can be read by text-to-speech utilities or screen-reader software. If audio files of image descriptions are used in exhibits, the online versions should also offer text files of descriptions, which are necessary to drive a refreshable Braille device, critical to users who are deaf-blind and who rely on Braille for both text and audio information. Handheld solutions require a speech interface or a navigation scheme that will work with a text-to-speech utility. Online access to collections and pre- or post-visit exploration of content requires proper formatting to work with text-to-speech solutions or a screen reader.

Content properly formatted to work with text-to-speech solutions or screen readers can also provide online access to people with motor disabilities who use assistive technology to operate computers. Text-to-speech solutions and descriptions can benefit people who experience difficulty understanding complex graphics and people who struggle with text for any number of reasons, including those who are learning English as a second language. It is unknown just how many people have audio- or visualprocessing deficits or experience strong preferences for one modality over another. Accessible content and multiple modes of navigation and interaction will enrich the overall learning experience for all users in keeping with the tenets of universal design for learning (Rose & Meyer, 2002).

Delivery of audio enhancements for people who are blind or visually impaired can be accomplished by a number of hardware, software and distribution means. Hardware options include museum-provided or visitor-owned off-the-shelf mp3 players such as iPods, iPhones and similar devices; museum-provided or visitor-owned cell phones; and proprietary audio tour devices provided by such companies as Antenna Audio, Softeq, and Acoustiguide¹⁶. Software options include any number of file formats (such as mp3, .wav, .mov, and others) as well as audio authoring tools both proprietary and widely available on the market for both Mac and Windows operating systems, including opensource audio tools such as Audacity. Audio content can be "on-board" (pre-installed) on any available device provided by a cultural institution; alternatively synchronized and asynchronous delivery of audio files can be accomplished by wireless protocols such as WiFi, infra-red, Bluetooth and cell phone, and synchronization can be aided by those technologies in conjunction with GPS triggering. Audio files can be provided to users in advance or subsequent to their visits from accessible web sites in any of the common digital audio formats, for listening at home on their computers or for downloading to their personal audio device or PDA.

Each of these delivery options has their own pros and cons and the list of technical issues a cultural institution should consider when shopping for appropriate technologies which enhance their accessibility include the following design parameters¹⁷:

Allowance for synchronization of caption text and audio description with museum's exhibits and media

Accessible user interface to blind and visually impaired people via "talking menus," "audible keyboard echoing" of user input and tactile controls

Device and content management system which enables fast-turnaround content creation and adaptation, authored by museum staff or variety of vendor(s) to enable access at first public opening of exhibits regardless of deadlines

IR emitter (or other wireless signals) with ability to adjust for narrow-zone coverage and accommodate multiple exhibits within small gallery space

If using public bandwidth (cell, WiFi, GPS), signals must be able to reach all areas of the museum

If relying on user-owned equipment, consider battery usage, personal data plan usage, national and international cell network compatibility

Ruggedized - able to withstand moderate abuse from adult visitors (e.g., dropping the device from a height of four feet)

Easy to use for visitors - young or old, technophilic or technophobic

Easy to use for museum staff (for automated or near-automated content loading and reprogramming)

Programming of device employs contemporary programming techniques (dragand-drop, pick lists, etc.)

Uses non-proprietary, industry standard content formats (e.g., .mp3, .txt, .wav, .mov, etc.)

Protects user privacy, accords with museum IT security needs

Open architecture - device's on-board software and device management software written in commonly used computer languages to allow for third-party alterations should the vendor no longer be able to support the product

Extensible - can be "built-out" or evolve over years to add new features and take advantage of new technologies

Fully customizable look and feel, menus, branding, etc.

Upgradeable for adding new software, new processors, new memory capacity

Potential for incorporating (or demonstrating) industry-wide standards for museum access devices

Interoperable with off-the-shelf technology so alternate hardware could be used

Able to download content from the web on-site or in advance

For the portion of a cultural institution's collection that is previewed or housed online, full accessibility is readily achievable via standards, tools, practices and guidelines available from a number of organizations, starting with the World Wide Web Consortium's Web Accessibility Initiative. A deep collection of recommended practices, standards for full inclusion and pointers to tools and examples are available at the W3C's web site: www.w3c.org/wai 

¹⁶ http://www.antennaaudio.com/ , http://www.softeq.com/products.assistive.asp , http://www.acoustiguide.com/