Page 243 - AC/E's Digital Culture Annual Report 2015

AC/E Digital Culture Annual Report 2015243information free of charge and also listen to the desired content provided that the devices have a camera and Wi-Fi connection.Another original example found in Spain’s network of museums is taken from the Museo del Romanticismo, specifically the exhibition Los espejos del alma (Mirrors of the soul). The novel feature of the use of QR codes was that they did not merely supply additional information about the works or museum pieces as a complement to a multimedia guide, as is usually the case, but provided access – and still do, even though the exhibition is over – to a Spotify playlist66 featur- ing a number of German musical pieces from the period examined in the exhibition.The IAACC Pablo Serrano in Zaragoza have incorporated what they call the Sounds of the Collection into QR codes.65 These are four sound files on various key aspects of the exhibition Pablo Serrano: 1905-1985. La colección (Pablo Serrano: 1905–1985. The collection) displayed in two museum rooms. These sound files acquaint visitors with some of the particular features of a number of Serrano’s works and anecdotes on his life in relation to art.This device was used as a tool for providing visitors with an experience that went beyond the works on show and contextualised a specific cultural period with other expressions of art.Another usage for QR codes was devised by the Royal Ontario Museum (ROM) in its mobile application ScopifyROM. This app, together with QR codes, helps visitors find their bearings in the museum and learn much more about what they see there. According to its creators,67 the design of the application is focused on3. Technology associated with the actual visit