chapter 5 elaine massung

8/13/2019 Chapter 5 Elaine Massung

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CHAPTER 5:

THE ROMAN BATHS

___________________________________________________________________________

SUMMARY: In order to better understand what users expect from heritage interpretation at an

archaeological site, a series of surveys were carried out at the Roman Baths Museum. These explored visitor

preferences when using traditional audio guides available at the site. The results obtained are analysed and

discussed.

___________________________________________________________________________

It was good to have a little talking stick.

(Visitor #39, Massung 2005)

5.1 INTRODUCTION

A key component of this research involved examining visitor reception to established audio

tours in order to determine visitor preference with regards to aspects of content. This data

was then extrapolated to a location-based method of delivery and tested with a prototype

design, as described in Chapter 7.

Two questionnaire-based studies were carried out at the Roman Baths Museum in Bath,

England in March-April and August-September 2007. These surveys collected demographic

data, audio guide and content preference, and queried visitors as to hypothetical situations

regarding location-based interpretation. A more in-depth view of the methodology behind

the survey design and collection procedures can be found in Chapter 4, and copies of the

questionnaires are available in Appendix C.

Throughout this chapter references are made to comments written by visitors on the Spring

and Autumn Surveys, such as VI.4, #25. The Roman numeral refers to a broad category (e.g.

VI is Improvements) and the initial Arabic number denotes the section within that

category (e.g. VI.4 is Content: Other). If a second number is listed (e.g. #25), it specifies a

particular visitor. Although representative comments are provided as appropriate in each

section, all comments can be found in Appendix E, along with visitor comments collected

between January 2005 and December 2007 from the Roman Baths in-house Visitors Book


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and Comment Cards. References to these comments are denoted in a similar way (e.g.

Baths II.8).

5.2 THE ROMAN BATHS: BACKGROUND

The city of Bath, a UNESCO World Heritage Site, welcomes over four million visitors each

year (South West Tourism Economic Impact Survey). Visitors are attracted to the

Georgian architecture, the lure of author Jane Austen, and the baths that give the city its

name.

These thermal springs were known to the native British tribes, but it was not until the arrival

of the Romans that the area developed into a thriving town, with the baths forming the

centre of both social and religious life. The temple complex was dedicated to the goddess

Sulis Minerva and the town itself was known as Aquae Sulis. However, the complex fell into

disrepair with the departure of the Romans in the 5th

century (Cunliffe 1984).

There was a revival of interest during the 18th

and early 19th

centuries as taking the waters

became fashionable (Frosch 2007).1

The stylish Pump Room allowed visitors to drink the

hot mineral water, and areas such as the Kings Bath were redeveloped and remained in use

for bathing purposes until the mid-20th century (Cunliffe 1986).

Today, the site consists of the original Roman bathing area and remains of the temple

complex, the later Georgian additions, and a primarily Victorian superstructure over the

Great Bath (see FIGURE 44, upper level). Each of these time periods and their physical

remains form part of the overall narrative of the Baths as a whole.

1

The waters of Bath attracted a range of tourists from an early date, with both the aristocracy and

those searching for a cure for a myriad of illnesses appearing with greater frequency from the 16th

century onwards (Cunliffe 1986, 106). However, it was Queen Annes visit at the turn of the 18th

century

that put the royal seal of approval on the city and its medicinal waters; Bath became a retreat for the

upper classes and a source of hope for those that flocked to the Mineral Water Hospital (Cunliffe 1986,

114, 126).


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FIGURE 44. Map of the Roman Baths showing the upper (1-2) and lower levels (3-11). Some of the interior

rooms of the museum that connect these sections are not shown. The numbers correspond to the following:

(1) entrance and reception hall; (2) terrace; (3) sacred spring; (4) objects from the spring; (5) temple; (6)

temple courtyard; (7) people of Aquae Sulis; (8) the spring overflow; (9) the Great Bath; (10) East Baths:

changing rooms and saunas; (11) West Baths: heated rooms and plunge pools. Image courtesy of the RomanBaths Museum ().

5.3 INTERPRETATION AT THE ROMAN BATHS

Many methods of delivering interpretation are used at the Baths: signs and artefact labels,

written tours, guided tours, video reconstructions, audio guides, and, most recently,

historical re-enactors have been enlisted (e.g. a Roman priest and soldier; FIGURE 45) to

enhance the visitors experience. Touchscreen tours at kiosks in the entrance hall and

terrace are available for disabled visitors if they are unable to navigate the multiple levels of

the Baths. As outlined in Chapter 2, each of method of interpretation has advantages and

disadvantages that must be taken into consideration. How these methods of delivery

operate at the Roman Baths Museum is briefly discussed in the next section.


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FIGURE 45. A child is introduced to a Roman

soldier in a publicity leaflet from the Roman

Baths (The Roman Baths, February 2009).

5.3.1 SIGNS AND LABELS

The first sight visitors have of the Roman Baths is whilst walking along the Victorian terrace

overlooking the Great Bath. A selection of signs also crowd this area. During the survey

period in 2007, these outdoor signs were quite worn and faded, possibly leading to a poor

first impression of the bathing complex (FIGURE 46a). Further limiting their usefulness, these

signs can only be viewed by a small number of visitors at any one time due to their location,

often leading to visitors being forced to bypass them completely, as was observed during

the busiest times at the Baths.

At the time of the surveys, the contents of some signs were provided in several languages,

whilst the artefact labels were provided solely in English. The outdoor signs were updated

during refurbishments in 2009 (FIGURE 46b), and are now cleaner and more modern, but

only provide interpretation in English. Thus those visitors desiring an alternative language

must rely on the audio guides or written tours.


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FIGURE 46. Left (a): Signs at the Roman Baths on the outdoor terrace at the time of evaluation in 2007.

Right (b): Replacement signs in October 2009.

5.3.2 WRITTEN TOURS

Written tours are primarily for those who do not speak one of the eight languages offered

by the audio guides; during the evaluation period, twenty-six languages were available as

written guides, and large print and Braille texts were also available in English.

5.3.3 GUIDED TOURS

Guided tours by employees of the Roman Baths are provided at the top of each hour for the

bathing complex, which consists of the Great Bath, East, and West Baths. Tours last thirty to

forty minutes and are only provided in English. Based on observations and the authors

experience of taking several of these tours, group size typically ranges from eight to twenty

visitors.

Although much of the information imparted by the tour guide is similar to that of the audio

guide, there are two notable differences. First, tour guides often mentioned any recent

work occurring at the Baths, such as construction and renovation, and how it impacted the

archaeology, or discussed areas that were not visible (and therefore not interpreted), such

as a gymnasium area beyond the East Baths. Second, they could answer visitor questions in

more detail than anything provided on the audio guide; this is not to say that the visitor

could not have found the answer in the text on one of the signs, but it is obviously a much

more direct way of obtaining information.


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Although tour guides were often favourably mentioned by visitors during the survey period

(Spring Survey VIII.7; comments in the Visitor Book (Baths VI.4) also sought to commend

specific guides by name), this method of interpretation has a restricted audience due to the

limitations in language and timing.

SPRING #164 I like tour guides but I dont like waiting for one. They often have great info. to add.

5.3.4 VIDEO RECONSTRUCTIONS

Televisions located at several areas throughout the temple and bathing complex allow

visitors to view 3D digital reconstructions interspersed with costumed actors (FIGURE 47).

The beginning of the video loop shows the remains of the building as they now appear,

albeit in a stylised form, giving visitors the opportunity to orientate themselves in the

setting. The ruins are then reconstructed and populated by costumed characters using the

location as intended. This is a simple, yet dynamic way of illustrating the appearance of the

Baths in the past.

This form of interpretation is wholly visual; there is no synchronized audio description,

allowing all visitors, regardless of language, to access it.

2

However, as mentioned in theSpring Survey comments (e.g. VI.4, #25; VI.5, #24a), several visitors sought integrated

audio/video interpretation to better understand what the digital reconstruction was

showing.

SPRING #25 Synchronise audio with video sections.

2

Only one video animation has associated content that can be accessed via the audio guide. As the video

reconstruction is on an automatic loop and the audio commentary is triggered by the visitor, the audio is

not in-synch with the animation.


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FIGURE 47. An example of a video reconstruction

within the Bath complex; the animation is not in-

synch with the interpretation on the audio guide.

5.4 AUDIO GUIDES: INTRODUCTION

Audio guides were first introduced at the Roman Baths in 1995. A key motivation for the

museums implementation was a desire for quietness; in the past, there was a

cacophony of competing tour guides and talking visitors (K. Smith, pers.comm., January

2005). With the introduction of the audio guide, noise was greatly reduced (K. Smith,

pers.comm., January 2005; Walter 1996).

Today, audio guides are the primary method of delivering interpretative content at the

Baths, and each visitor receives one as part of the admission price. At the time of the visitor

evaluations, cost for an adult was 10.25, concessions 8.75, and a childs entry was 6.50.3

The effect of cost on audio guide and location-based interpretation is discussed in section

6.4.4.1.

General tours of the Baths are provided in eight languages: Dutch, English, French, German,

Italian, Japanese, Mandarin, and Spanish. A tour of the Baths given by American travel-

writer and humorist Bill Bryson is available in English, and a childrens tour is available in

English and French. Additional information about these tours is discussed in section 5.4.3

below.

3

Current prices for 2010 are: 11.50 (12.25 July and August); concessions 10.00; children 7.50.


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FIGURE 48. Left (a) and right (b): Images of the audio guide used in a publicity leaflet, with the dual implication

that the wands are so easy to use, even a child can use them, and that children enjoy the audio interpretation

(The Roman Baths, February 2009).

FIGURE 49. Left (a): The audio guides are a key component of interpretation, and as such are even mentioned

in publicity at the Baths. Right (b): The childrens tour and its characters are likewise given a prominent

position in the Reception Hall.

5.4.1 HARDWARE

The audio guides used at the Roman Baths Museum are produced by Acoustiguide, a leading

designer of audio tours for heritage sites and museums. The guide studied during the

research period, the AG2000 (FIGURE 51), was installed in 2001. This is a wand type guide,

a long device containing a numeric keypad, a back-lit LCD display screen, and depression for

audio output. As part of the audio guide controls, the visitor has the option to rewind, fast-

forward, pause, or stop the recording.


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The design of the audio guide, both in terms of its physical shape and content, was the

result of a collaboration between the Roman Baths Museum and Acoustiguide (K. Smith,

pers. comm., January 2005). Its length allows it to be held without arm strain, and it has

features that permit those with disabilities to take advantage of the guide as well. For

example, a T-switch allows those with hearing aides to use the guide easily, and headphones

can be connected so visitors with arthritis do not have to grasp the audio guide. According

to Visitor Services Manager, Katie Smith (pers. comm., January 2005), the devices have a

low failure rate, and visitors have the option of obtaining a replacement should the guide

malfunction. Data regarding visitor use and behaviour, e.g. the amount of time each audio

clip is listened to, is collected by each device.

FIGURE 50. Audio guide distribution point at the Roman

Baths; each visitor is given an audio guide in his/her

preferred language. Written tours are provided in other

languages if needed.


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Backlit LCD screen;

shows segment

number and title of

location.

Numeric keypad

for entering audio

segment locations

Control buttons:

rewind, fast-forward,

pause, play, stop (C),

and volume

The wand style

allows for easy

gripping

Neck strap

FIGURE 51. A diagram of the Acoustiguide AG2000. The audio control symbols for fast-forward, rewind,

pause, and play follow international standards, although stop is indicated by the letter C (clear). Diagram

provided by K. Smith.

Single speaker

audio output


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5.4.2 ACCESS POINTS

Areas of interest, such as architectural features and the museum exhibits, are identified

with a two- or three-digit number; visitors type the corresponding number into the audioguide in order to listen to information regarding that section. The numbers are non-

sequential in order to ensure visitors are in the proper area of the museum when playing an

audio section, and not automatically playing the commentary in numeric order, regardless

of their location.

Three tours are currently available for English-speaking visitors, and each of these tours can

be accessed from the same device, i.e. English-speaking visitors have the opportunity to

listen to up to three narratives during one visit to the Baths.

FIGURE 52: Each audio segment is denoted by a numbered sign, and each tour has its own design. Left(a): The

general tour has either a green or yellow background with a stylised image of an audio guide wand (this has

not changed despite the new hardware system (section 5.4.4). Centre(b): Bryson at the Baths is denoted by a

plain background and a text description. Right (c): The childrens tour uses illustrations of the audio guide

characters. The flags visible at the bottom of the Bryson at the Baths and childrens audio tour signs signify the

languages that these tours are available in. The numbers of the general tour are consistent across all eight

languages.

5.4.3 CONTENT

The three narratives available on the English audio tour are: (1) the general tour; (2) Bryson

at the Baths; and (3) a childrens tour.4 Some sections of the general tour have layers or

fascinating facts, which give the visitor the option of listening to more detailed

4The Roman Baths Museum itself uses the term family tour to refer to the general tour, but the latter

term has been adopted within this dissertation in order to avoid confusion with the childrens tour.


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information. These are made available at the end of the main audio segment, at which

point listeners are advised to press a second number if they wish to hear further details. In

this way, the audio tours are intended to be interactive: visitors not only choose which

sections they want to listen to, but can delve deeper into a chosen subject area if desired.

TABLE11 summarises the number of available audio segments on each tour by length. When

divided in this format, it is clear to see that the childrens audio tour is much shorter than

the general tour, with Bryson occupying the middle ground in terms of length.

TABLE 11. A summary of the number of audio segments on each tour by set times.

TIMING GENERAL BRYSON CHILDREN

00:00 00:30 2 0 13

00:31 01:00 17 9 19

01:01 01:30 21 9 6

01:31 02:00 10 3 3

02:01 02:30 8 1 1

02:31 03:00 3 0 0

03:01 03:30 1 0 0

TOTAL 62 22 42

5.4.3.1 GENERAL TOUR

The narration of the general tour has remained much the same since its inception, although

additional layering was added in response to visitors complaints about the length of some

sections (K. Smith, pers. comm., January 2005; Baths II.2), and this is still being addressed in

the most recent iteration of the tour (pers. comm., October 2009). As the general tour was

created before the addition of a specific childrens tour, the narrative content is geared to

the age of 12 to ensure better comprehension by a wider audience. The sound files are a

combination of facts, dramatic vignettes, and interviews with curatorial staff. In addition to

this information, the guide incorporates music, sound effects, and even Latin to construct

the story of the springs past, with the narration primarily supplied by actors Stephen Fry

and Joanna Lumley (see Appendix D for a short transcript of the general tour).


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There are 49 numbered points at which visitors can access this information, as well as 11

additional segments. There are also two general messages, which encompass instructions

for using the audio guide and information on returning it to the collection point. The entire

tour, including layers, fascinating facts, and messages, has a total running time of just over

85 minutes. A summary of the average playing times for the different types of audio

segments used can be seen in TABLE 12, and a full listing of all audio segments and their

corresponding lengths is available in TABLE 13. As the general tour was the only tour

available for many years, it is therefore composed of the most audio segments, with the

longest overall playing time and longest average time per segment.

TABLE 12. General tour (English): timing summary.

PLAYING TIME

Total 85:26

Average, main sections 01:24

Average, layers 01:14

Average, overall 01:23


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TABLE 13. General tour (English): playing times for each segment.

NUMBER LOCATION PLAYING TIME NUMBER LOCATION PLAYING TIME

1 Instructions 02:12 26 Tombstones 01:10

85 Terrace 03:14 34 Girl's Tombstone 02:25

27 Terrace Layer 02:07 36 Tombstone Inscriptions Layer 01:11

16 Pilgrims and Priest display 01:08 10 Flavian Lady 01:09

47 Bather display 02:08 93 Drain 00:47

35 Temple Model 02:00 37 Drain Layer 02:29

18 Compton Dando Stone 01:27 39 Mason's Marks 01:06

65 Pediment 02:50 81 Lead Pig 01:05

28 Pediment Layer 01:16 89 1900 Model 01:12

29 Pediment Fascinating Fact 00:34 82 Gems Showcase 01:20

95 Tholos 01:27 83 Column 00:45

40 Flint Tools Case 00:51 21 Spring Overflow 00:31

80 Temple Treasure Case 01:15 24 Doorway leading to the Baths 01:10

50 Temple Courtyard 01:33 49 Semi-Circular Pool 01:35

90 Minerva 02:12 43 East Baths Caldarium 00:41

31 Minerva Fascinating Fact 00:51 54 East Baths Tepidarium 02:31

20 Temple Steps 00:48 51 Tepidarium Fascinating Fact 00:40

66 Minerva Layer 01:20 55 Natatio 00:29

15 Calpernius Receptus 00:35 11 East Baths Large Tepidarium 01:48

60 Temple Courtyard Farside 00:42 53 Large Tepidarium Fascinating Fact 00:41

32 Temple Courtyard Layer 01:35 52 Great Bath South Side 02:14

77 Opposite Spring Entrance 01:12 56 Roman Pavements and Pillars 01:53

30 Lucius Marcius Memor 01:05 96 Frigidarium 00:31

70 Altar 01:29 44 Roof Stack 01:07

19 Temple Entrance 01:38 71 Roof Stack Fascinating Fact 00:29

45 Facades of 4 Seasons/Luna Pediment 02:16 79 Northwest of the Great Bath 01:2592 Mosaics 01:30 62 Northwest of the Great Bath Layer 01:32

17 Sculptures 01:25 72 King's Bath 02:36

61 Boar 00:40 22 West Baths 01:39

38 Finds Showcase 01:40 48 Stall Street Bath 00:36

25 People of Aquae Sulis 00:40 88 Wand Return Point 00:59


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5.4.3.2 BRYSON AT THE BATHS

Although best known as a travel-writer, Bill Bryson has also made a name for himself with

non-fiction books such as A Short History of Nearly Everything (2004), Shakespeare(2007),and, most recently, At Home: A Short History of Private Life (2010). The narration of this

tour taps into both genres; it was added to the Baths in 2006 and is composed of Brysons

unscripted opinions about the bath complex and its artefacts (K. Smith, pers. comm.,

December 2007). The commentary is available at 22 locations (TABLE15); see Appendix D for

a short transcript. Although composed of fewer segments than the other tours available,

the average length of each segment falls between the general tour and childrens tour.

TABLE 14. Bryson at the Baths tour (English):

timing summary.

PLAYING TIME

Total 25:39

Average per segment 01:10

FIGURE 53. This image of Bill Bryson using an

audio guide is part of a publicity leaflet advertising

the Roman Baths (The Roman Baths, February

2009).

TABLE 15. Bryson at the Baths tour (English):

playing time for each segment.

NUMBER LOCATION PLAYING TIME

12 Welcome 00:41

86 Terrace 01:21

97 Overlooking the Great Bath 00:40

87 "Lonely Place" 01:08

57 Gorgon's Head 02:03

13 King's Bath/Curses 01:25

41 Minerva 00:47

14 Steps to Temple 00:36

42 Altar 01:23

58 Monuments 01:28

67 Spring Overflow 00:57

68 Gemstones 01:15

74 East Baths 01:32

73 Great Bath Extra 01:25

99 Conducting Business 00:37

69 Great Bath 01:48

94 Bathing and Religion 00:49

75 Roof Fragment 01:33

76 North West Corner 01:18

98 Relaxation 00:48

78 Sacred Spring 01:15

84 Terrace 00:50


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5.4.3.3 CHILDRENS TOUR

The audio segments on the childrens tour, which is available in both English and French, are

typically narrated by one of seven characters: (1) Gaius Tiburinus (a Roman official); (2)Flavia Tiburina (a Roman lady); (3) Apulia (Flavias servant); (4) Gaius Calpernius Receptus

(the chief priest); (5) Lucius Marcius Memor (a fortune-telling priest); (6) Sulinus (a stone

mason); and (7) Belator (a bath-house worker). Names and descriptions of each character

are provided on a sign when visitors first enter the terrace (FIGURE54a), and their cartoon

image identifies the signs for the childrens tour (FIGURE 54b). See Appendix D for a short

transcript of one of the audio sections.

FIGURE 54. Left (a): The seven characters of the childrens audio guide tour greet visitors at the entrance of

the terrace. Right (b): The characters are used to signify the audio segments throughout the childrens tour.

There are 42 numbered points where visitors can access the childrens tour (TABLE16), and

incorporated within this are four quiz questions. The average playing time per segment is

significantly shorter than the other two tours, clocking in at 48 seconds for each audio

segment, for a total of 33 minutes, 45 seconds. See TABLE 17 below for a more detailed

breakdown of playing times.

TABLE 16. Childrens tour (English): timing summary.

PLAYING TIME

Total 36:05

Total, excluding quiz answers 33:45

Average per segment, excluding quiz answers 00:48


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TABLE 17. Childrens tour (English): playing time for each segment.

NUMBER LOCATION PLAYING TIME NUMBER LOCATION PLAYING TIME

111 Introductory Panel 01:57 110 Boar 00:25

113 Terrace 00:29 105 Military Tombstones 00:55

135 Spring from Above 01:02 132 Small Altar 00:46

170 Temple Model 01:05 118 Flavian Lady 01:26

150 Overlooking the Great Bath 00:40 145 Roman Drain 00:37

175 Temple Pediment 00:35 189 Spring Overflow Close-up 00:37

100 Quiz Sulis Minerva 00:46 122 Gems 00:47

101 Quiz Answer 00:15 300 Quiz Gemstones 00:25

102 Quiz Answer 00:15 301 Quiz Answer 00:11

103 Quiz Answer 00:14 302 Quiz Answer 00:09

133 Spring from King's Bath Corridor 01:45 303 Quiz Answer 00:09

176 Coins 00:21 179 Doorway leading to the Baths 00:38

177 Curses 00:27 146 Great Bath 01:11

181 Temple Precinct Overview 01:09 157 East Baths Semi-Circular Bath 00:47

167 Minerva's Head 00:57 154 Caldarium 00:39

143 Tombstone of Gaius Carpernius Receptus 00:34 107 Tepidarium 00:30

161 Screen 00:19 155 Natatio 00:53

121 Marcius Memor Haruspex 01:48 166 Great Bath - Social Use 00:48

123 Great Altar 00:25 400 Quiz Bathhouse 00:38

156 Spring Entrance Door in Temple Precinct 00:17 401 Quiz Answer 00:12

187 Spring Overflow Glimpsed from Temple Precinct 00:18 402 Quiz Answer 00:11

106 Faade of 4 Seasons/Luna Pediment 00:25 403 Quiz Answer 00:12200 Quiz Luna Pediment 00:43 178 Frigidarium 00:42

201 Quiz Answer 00:10 148 Diving Stone 01:07

202 Quiz Answer 00:10 188 Spring from the South 00:52

203 Quiz Answer 00:12 144 West Baths 00:23

108 Mosaics 00:28 199 West Baths Hypocaust and Good-bye 02:09


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5.4.4 AUDIO GUIDES: AN ADDENDUM

In February 2009, the Roman Baths Museum introduced a new audio guide as part of its

renovations. It is an OpusClick, also produced by Acoustiguide, and consists of a colourdisplay screen and mobile phone style touchpad (FIGURE 55a). The devices work in the same

manner as the AG2000, with the user entering the number of the audio section they wish to

hear. The screen is used to display an image and text title signifying the users location

(FIGURE 55b). In September 2010, a British sign language version was unveiled to further

utilise the display screen.

As a result of consultations with the Roman Baths in June 2008, some of the authors

research findings were taken into consideration during the redesign of the audio guide

script. According to Katie Smith (pers. comm., Oct. 2009), some initial editing was done to

shorten the audio segments and new audio content has been commissioned with a planned

2010 release. It is intended that the new tour will have a more contemporary feel, with a

shorter basic script, and additional layers of information available. All data given here is for

the previous version of the tour that was in use during the 2007 evaluations.

FIGURE 55. Left (a): The new Acoustiguide OpusClick audio guide that has been in use since February 2009.

Right (b): The display screen shows an image of the users location and a number confirming the audio

segment selected. It also has a timeline to show the progress of the audio file.


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5.5 SPRING SURVEY RESULTS

Below are the results for the survey undertaken at the Roman Baths between March and

April of 2007. All three survey designs are included, for a total sample size of 384 visitors.Percentages are rounded to whole numbers for simplification, and voided questions are

those that visitors left blank or improperly completed, e.g. a visitor was asked to select one

answer but chose several instead.

5.5.1 SPRING SURVEY: DEMOGRAPHICS

The initial questions consisted of general demographic data involving the visitors gender,

age, country/city of origin, and previous experience in visiting the Roman Baths. TABLE18

shows that there was an approximately even distribution of male to female respondents,

and the ages of visitors are representative of the total population (TABLE19; GRAPH1). Based

on the results of chi-square testing, there are no significant differences between the

populations sampled in the Spring and Autumn surveys.

Gender: 2

(1, N = 572) = 0.005, p< 0.05 (not significant)

Age: 2

(8, N = 576) = 10.720,p< 0.05 (not significant)

TABLE 18. Q1. Gender of Spring Survey

respondents.

GENDER COUNT PERCENT

Female 198 52%

Male 180 47%

VOID 6 2%

TABLE 19. Q2. Age of Spring Survey respondents.

AGE COUNT PERCENT

Under 12 13 3%

13 21 47 12%

22 30 74 19%

31 40 52 14%

41 50 67 17%

51 60 84 22%61 70 35 9%

71 80 8 3%

81+ 1


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TABLE 20. Q3/4. Visitors country of origin.

LOCATION COUNT PERCENT

British 223 58%

International 159 41%

VOID 2 1%

TABLE 21. Q3/4. British visitors by country.


England 199 89%

Wales 19 9%

Scotland 5 2%

TABLE 22. Q3/4. International visitors by country of origin; Percent Inter. refers to the percentage based

solely on the international total (159) and Percent Total is based on the overall sample size (384).

COUNTRY COUNT PERCENT

INTER.

PERCENT

TOTAL

Australia 17 11% 4%

Belgium 1


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FIGURE 56. Map showing the county of origin for British visitors to the Roman Baths during the Spring Survey

(March and April 2007).


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One item of note regarding international visitors is that the two most populous groups on

both the Spring and Autumn Survey are from English-speaking countries, Australia and the

United States (TABLE 22 and 48). This is in line with the International Passenger Survey

(2003) that shows that 38% of international visitors staying in Bath are American and 14%

Australian.

5.5.3 SPRING SURVEY: FIRST-TIME AND RETURN VISITS

TABLE 23. Q5/4. Have you visited the Roman Baths before?

COUNT PERCENT

Yes: Returning Visitor 71 18%

No: First-time Visitor 311 81%VOID 2 1%

There are far-reaching commercial implications based on the results (TABLE23). Why do a

high proportion of visitors not return, and can anything be done to lure them back? The

cost is likely a factor, but it is possible that visitors view the site as static and unchanging.

This is supported by the results of Q13/12 below (TABLE24), in which visitors were queried

whether they would return to listen to a different tour; over half responded in the

affirmative.

Through the use of the birthday-rule (Recreation Site Survey Manual 1983, 17) to achieve a

random sampling of visitors during a separate study by the author at the Roman Baths in

2005, it was observed that many visitors mentioned having just celebrated a birthday within

the week of the survey period. Although an exact count was not made, it is estimated that

at least 10% of the survey population fell into this category, which indicates that some

visitors view attending the Roman Baths as something to do to mark a special occasion,

rather than a casual place to visit.

TABLE 24. Q13/12. Would you return to the Roman Baths to listen to a different tour?

5

The sample size is 365, as visitors who did not use the audio guide did not answer this question.

COUNT5

PERCENT

Yes: Would Return 209 57%

No: Would Not 134 36%

VOID 22 6%


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These survey results (TABLE24) raise further questions: are visitors more likely to return to a

site if the interpretation has changed or been expanded, and does the cause of a visit, such

as a special occasion, have an impact on interpretation preference? Such questions are

beyond of the scope of this thesis, but pose interesting areas for future work.

5.5.4 SPRING SURVEY: AUDIO GUIDE USAGE

Following the demographic questions, the questionnaire asks visitors if the audio guide was

used on the day of the survey. Those who answered yes were then queried as to their

usage of the audio guide (sections 5.5.65.5.14); those answering no were asked for a

brief explanation (section 5.5.5) and told to skip the questions about usage. As can be seen

in TABLE25, this applied to only 5% of the visitors questioned.

Despite answering no, four visitors continued with the intervening queries; their

responses to these questions have been eliminated in these results as it is unknown

whether they were referring to a previous visit or their visit that day. Errors such as this are

to be expected when visitors complete the questionnaires on their own (Bourque and

Fielder 1995).

TABLE 25. Q6a/5. Did you use the audio guide on todays visit?

COUNT PERCENT

Yes: Used Audio Guide 365 95%

No: Did Not 19 5%

Very few visitors reported they did not use the audio guide, and there are several reasons

that may account for this. First, as audio guides are automatically given to visitors upon

entry and are included as part of the admission price, there is little incentive for visitors to

bypass the guide completely. As reflected in section 5.5.7, visitors report using the guide

along a spectrum ranging from a handful of listening points to nearly all. Second, it is

probable that visitors were more willing to complete the survey if they had a positive

experience with the guide.


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5.5.5 SPRING SURVEY: AUDIO GUIDE NON-USAGE

Those who did not use the audio guide gave the following reasons (TABLE26); visitors could

tick more than one selection.

6

TABLE 26. Q6b/5b. If you answered no, why not? Please tick all that apply.

OPTION COUNT OPTION COUNT

I like to move at my own pace 12 I prefer to read signs and labels 9

The guide malfunctioned 0 I have used the guide on a past visit 2

Other (comments on right) 2 Guide (Survey 3, #6)

There was no audio guide. (Survey 3, #188)

Of those who did not use the guide, most selected one or more of the pre-defined

responses, with I like to move at my own pace and I prefer to read signs and labels

being the most common selections. This supports research by Alison Woodruff et al.

(2001b), which found that visitors to heritage sites prefer to be in control of the method of

interpretation used. Some visitors feel that audio guides or other electronic devices hinder,

rather than enhance, their experience because they can slow their pace through a museum

and provide information only at certain points.

This is in stark opposition to much audio-guide literature (e.g. Humphries 2006, 76) 7 that

touts the devices as allowing visitors to move at their own pace; visitors themselves do not

necessarily view the guides as allowing them to do so. Unlike text-based interpretation,

which is wholly reliant upon the visitor for the speed at which the interpretation is accessed,

audio guides are dependent on the speed of narration and amount of interpretation they

seek to impart. Indeed, one visitor (Spring Survey 3, #30) ticked that he listened to the

audio guide, but also wrote in the margins: It disturbs the visit and the experience.

6

Five visitors who selected yes to Q6a/5 indicating that they used an audio guide also answered Q6b/5b.

These results were not included in TABLE 26. If they were included, the counts would be as follows: Pace

(17); Signs and Labels (12); Past Visit (3); Guide Malfunctioned (0).7

In researching the audio guide companies outlined in Appendix A, it became apparent that this feature of

visitors being able to move at their own pace is often listed as an advantage.


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5.5.6 SPRING SURVEY: TOUR PREFERENCES

The three English audio tours can be accessed on the same audio device, and visitors were

queried as to which tours they listened to throughout their visit (TABLES27-28). Based onthese responses, half of the visitors only listened to one tour during their visit, whilst the

other half sampled two or more tours.

TABLE 27. Q7/6. Which tours did you listen to?

Please tick all that apply.

TOUR COUNT

General 330

Bill Bryson 179

Childrens 52

VOID 1

TABLE 28. Number of tours listened to by visitors.

TOUR COUNT PERCENT

One Tour 183 50%

Two Tours 160 44%

All Tours 19 5%

VOID 3 1%

Visitors were also asked to select which tour they listened to most often (TABLE29), and it is

this tour that is rated in the remainder of the questionnaire. The 19 visitors who did not use

the audio guide are not included in this data, leading to a sample size of 365.

TABLE 29. Q8/7. Which tour did you listen to most often? Please tick one.

TOUR COUNT PERCENT

General 280 77%

Bill Bryson 39 11%

Childrens 31 8%

VOID 15 4%

These questions revealed that despite requesting the option of having additional tours (e.g.

Spring Survey VI.3, #118, #245), visitors do not necessarily take full advantage of the three

tours already on offer. Some visitors even commented that they were unaware that three

tours were available (Spring Survey II.12), and this factor was followed up on during the

Autumn Survey (section 5.6.3).

#13 I was not aware there was a Bill Bryson Tour (unfortunately).

#34 Not aware of others; so many numbers.

#118 Different people doing guides.


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5.5.6.1 SPRING SURVEY: REASONS FOR SELECTING TOUR (GENERAL)

Visitors were asked to comment as to why they selected the tour they listened to most

often, and these responses can be found in Appendix E. Based on these comments, it ispossible to reach a better understanding of what visitors expect from the audio guide tour.

At the most basic level, visitors report that they selected the general tour for information

(Spring Survey II.1). This is the largest category, with 73 respondents specifically using the

words information, info, or informative to describe the reasoning for their choice.

#23b Wider range of information; didnt know what the Bryson tour included.

#82 Most informative Bryson a bit general + not very informative

Other words that commonly appeared with regards to the general tour content include

factual, history, precise, relevant, and appropriate. The use of factual and

precise is noteworthy, especially when compared to the Bryson and childrens tours,

where neither word appears. It was initially thought that visitors were indicating that the

tour was accurate; however, if visitors had meant accuracy, they likely would have specified

this term. Instead, factual and precise appear to be the audiences way of distinguishingbetween the fact-based, textbook general tour and the more abstract opinions presented by

Bill Bryson.

#6a Wanted just the basic facts.

#18b Most relevant to what I want to find out about.

#51 Most historical + informative.

It is harder to pinpoint what is indicated by relevant and appropriate. It is possible that

this signifies that it met the visitors expectations of what should be included in an audio

tour, or it was more appropriate/relevant for their age and/or the site itself.

The word interesting has many connotations, and it is a term that is found to describe all

three tours. In this instance, visitors appear to indicate that they have a pre-existing

interest in the topic, as well as find the content of the general tour more interesting than

the other options.


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#165 It was most interesting to me.

Another term that appears in multiple categories is easy (e.g. Spring Survey II.1, #26 and

#69; II.13, #277; II.15, #103, #117, and #287). This is quite revealing as visitors answered

that one of the most important features in an audio guide was that it was easy to use

(section 5.5.10), and it indicates that the current audio guide meets this requirement.

#287 Easy to listen to.

Other comments ranged from time limits to the voice of the narrator.8 Regarding content,

visitors showed a desire for both a general overview and an in depth, comprehensive

commentary (Spring Survey II.13, #227, #229); despite the apparent discrepancy, the

general tour apparently fulfilled both needs.

#25 Listening to both[i.e. Bryson and General]was taking too long.

#60 Excellent overview recommended to me.

#229 Seemed to be most comprehensive

#284 I liked the voice the best.

The reasoning behind the decisions of some visitors was more practical; the signs for the

general tour were more visible or, in the case of nine visitors, they were unaware that there

were other tours. Visitors also commented as to their own behaviour and general

preferences, both in the Roman Baths and in other museums. These visitors seemed to

prefer audio guides to other forms of presentation.

#22 Most obvious (wasnt aware of option).

#142 Easiest to see numbers that linked to what we were looking at.

#273 Always use audio in museums to get detail

Among those in the Miscellaneous category, several misinterpreted the question, answering

why they were at the Roman Baths rather than why they selected a specific audio guide tour

(e.g. Spring Survey II.15, #12a, #122).

8

Baths II.4 in particular shows some of the scathing comments left in the Visitors Book regarding the

choice of narrator, e.g. [Baths II.4, #8] After turning on the audio and hearing an American accent I

immediately turned it off again permanently.


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5.5.6.2 SPRING SURVEY: REASONS FOR SELECTING TOUR (BRYSON AT THE BATHS)

Visitors often selected to listen to the Bryson at the Baths tour if they were already familiar

with his work, and their past experience provided them with an idea of what to expect.Others responded to Brysons personal opinions and the atmosphere he evoked. As

discussed in section 5.5.9, visitors like to be told a story and appreciate the human element

behind the site and its artefacts. Brysons narrative addresses this need (Spring Survey III).

In a similar manner, visitors responding to queries about improving the audio guide

commented that they would like to hear the opinion of other known personalities (Spring

Survey VI.3).

#244 Enjoy his books speaks with more enthusiasm + accessible descriptions.

#247 Interested, emotional, sense of actual conversation.

The Bryson tour also had negative responses from visitors who listened to more than one

tour. Comments were split between those who preferred a fact, rather than opinion, based

tour, and those who found Bryson irritating and annoying (IV.2, #22b and #201; Baths

III.2). Although there is little, if anything, that can be done to change the views of the latter

group, a clear description of what each tour entails would allow visitors to make an

informed decision as to which tour to follow. A brief introduction about the author would

likewise assist those visitors who are unfamiliar with Bill Bryson.

#19b Did not know what Bill Bryson tour was.

5.5.6.3 SPRING SURVEY: REASONS FOR SELECTING TOUR (CHILDRENS)

Of the 31 visitors who selected that they listened to the childrens tour most often ( TABLE

30), the age breakdown appears unusual, with nearly half of the respondents being adults

over age 21.

TABLE 30. Ages of visitors who reported listening to the childrens tour most often.

AGE COUNT PERCENT

Children (under 12) 12 39%

Teenagers/Young Adults (13-21) 5 16%

Adults (21+) 14 45%


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However, based on observations, many of the adults who listened to the childrens tour

were accompanied by children, and in general it is likely adults use the childrens tour so

that the family can maintain the same pace,9as well as be aware of the content.

The simplicity of the childrens tour was often praised by adults, and teenagers and young

adults found it easy to understand, as well as fun and interesting (Spring Survey V).

Most children (i.e. those under 12) were more practical, commenting that they selected the

tour just because they were children (Spring Survey V.4).

#5a Easier to listen to; simple description + not too long to listen to.

#212 Because Im a child.

5.5.7 SPRING SURVEY: SELF-REPORTED BEHAVIOUR

TABLE 31. Q9/8. At which numbered listening points did you use the audio guide?

COUNT PERCENT

Nearly All 232 63%

About Half 91 25%

A Handful 39 11%

VOID 3 1%

Based on the quantitative data downloaded from audio guides during the months of this

survey, visitors have likely overestimated the amount of interpretation they listen to (TABLE

31). 63% of the visitors thought they listened to nearly all of the audio segments for their

selected tour, yet if these results are compared with the data downloaded of the actual

usage rates for the months of March and April (TABLE32), the average numbers of hits, i.e.

the number of segments accessed by each visitor, for all tours is significantly less than the

number of segments available (TABLE11).

TABLE 32. The average number of segments listened to and time played (excluding repeats). This is combined

across all three tours. See GRAPHS 2-4 for an illustration of the hits and playing times for the survey period.

AVERAGE

HITS

MODE

HITS

AVERAGE

TIME

MODE TIME

March 19 15 21 minutes 12 minutes

April 21 14 23 minutes 17 minutes

9

As discussed in section 5.4.3.3, the audio segments on the childrens tour are much shorter than the

general tour. Please see TABLES 13, 15, and 17 for a breakdown of the timings of each audio section.


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This is likewise supported when viewing the hits for the specific tours. For example, on the

general tour the segment accessed most often in March was the introduction with 27,764

separate hits.10

This can be assumed to be the approximate number of visitors using the

audio guide overall.11

The next most popular segment of the general tour was listened to by

17,448 visitors, a decrease of 37%. If the majority of visitors did indeed listen to nearly all of

the available commentary, as indicated by the self-reported data, a more even distribution

of hits would be expected across all tours.12

The Bryson at the Baths tour shows a similar decline, with a high of 15,347 hits in March

decreasing by 36% to 9,672 for the next most selected segment.13

The childrens tour,

however, shows far less of a drop, declining only 6% between the top two audio segments.

This seems to indicate that those who started listening to the childrens guide continued

with it on a more regular basis than the other tours.

There are a number of possibilities that may account for this difference in self-reported

versus actual behaviour. First, and most likely, is that visitors are unaware of the number of

segments available on each tour. Second, there is likely the tendency for respondents to

show their behaviour in a more positive light (Harrell 1985, 14), and in this circumstance

they are likely trying to inflate the amount of material accessed. On a practical level, parts

of the Baths were closed to visitors and certain areas, such as the Temple Courtyard, would

show a lower than normal number of hits.

Visitors were also asked how often they stopped the audio segment before completion

(TABLE33). Over half reported using this function, which underscores both the importance

10This takes into account the nearly 25% of visitors who repeated the instructions during their tour.

11When given the audio guide by staff at the Roman Baths, visitors are advised to select the introduction.

Based on observations, most visitors do so immediately.12

In March, individual hits (excluding repeats), range from a low of 117 per segment to 27,764 for the

introduction. In April, a similar pattern occurs, with 41,991 individuals listening to the introductory

segment, with the next most popular section recording 27,224 hits, or a decrease of 35%. Hits range from

239 to 41,991.13

In March, the Bryson at the Baths tour ranges from 103 hits to 15,347, excluding repeats. In April, there

was a decline of 42% between the top two segments.


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of providing users with audio controls, as well as the necessity of using shorter audio

segments.

TABLE 33. Q10/9. How often did you stop the audio commentary before it finished?

COUNT PERCENT

Never 156 43%

Occasionally 181 50%

Frequently 23 6%

VOID 5 1%

As mentioned in section 5.4.3 above, some of the audio segments have additional layers

that visitors can access if they wish. Visitors were asked if they listened to this extra

interpretation.

TABLE 34. Q11/10. Did you listen to the extra information provided at some exhibits?

COUNT PERCENT

Yes: Visitor listened to layers 239 66%

No: Visitor did not 121 33%

VOID 5 1%


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GRAPH 2. This graph illustrates the total number of audio segments available (126 between the three tours)

and the number of visitors who accessed them during the month of March.

GRAPH 3. This graph illustrates the total listening time on all three tours (147:10) during the month of March.

Number of Tour Segments: March 2007

0

200

400

600

800

10001200

1400

1600

0 10 20 30 40 50 60 70 80 90 100 110 120 130

Segments

Users

Overall Listening Time: March 2007

0

200

400

600

800

10001200

1400

0 10 20 30 40 50 60 70 80 90 100 110 120 130 140 150

Minutes

Users


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GRAPH 4. This graph illustrates the total number of audio segments available (126 between the three tours)

and the number of visitors who accessed them during the month of April.

GRAPH 5. This graph illustrates the total listening time on all three tours (147:10) during the month of April.

Number of Tour Segments Played: April 2007

0

500

1000

1500

2000

0 10 20 30 40 50 60 70 80 90 100 110 120 130

Segments

NumberofVisitor

s

Listening Time: April 2007

0

500

1000

1500

2000

0 10 20 30 40 50 60 70 80 90 100 110 120 130 140 150

Minutes

NumberofVisitors


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5.5.8 SPRING SURVEY: TOUR RATINGS

TABLE 35. Q12/11. Regarding the tour you listened to most often, how do you rate each of the following?

GENERAL BRYSON CHILDREN

LENGTH

Just Right 78% 82% 81%

Too Long 18% 15% 6%

Too Short 1% 0 6%

VOID 3% 3% 6%

SPEED

Just Right 88% 90% 84%

Too Fast 1% 3% 3%

Too Slow 6% 0 3%

VOID 5% 7% 10%

STORIES

Interesting 57% 67% 45%

Acceptable 33% 23% 42%Boring 2% 0 0

VOID 8% 10% 13%

OVERALL

Excellent 52% 62% 61%

Satisfactory 39% 31% 19%

Poor 1% 0 4%

VOID 7% 7% 16%

Quantitatively, the results on audio tour length are very similar, although the feedback

expressed in the comments (Spring Survey VIII.5; Baths II.2) shows stronger opinions.

Likewise, with over half of the visitors reporting that they stopped the audio before the

completion of the full commentary, it appears to indicate that the segment length may be

too long in some instances. The delivery speed of all tours is comparable.

#51 Good guide but too long at times. I like both audio + signs.

#5a Easier to listen to; simple description + not too long to listen to [regarding selection of the

childrens tour].

Although rated highly in the other categories, the stories from the childrens tour were

nearly divided between interesting and acceptable. Paradoxically, this is likely a result

of the preferred short length; it is difficult to develop any story within the short audio

segments.

Although the Bryson at the Baths and the childrens tours show the highest satisfaction

rating, with 62% and 61% selecting excellent respectively, they were listened to by a


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minority of visitors. However, as a whole, this question was not as useful as intended as

many visitors left it blank, and it is through the visitors comments that a more complete

picture of audience preference emerges.

When subjected to chi-square testing, a significant difference emerges in terms of the

length of audio sections, with the primary difference being between the general and

childrens tours: 2(1, N = 299) = 9.445, p


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should be taken into consideration. There is a desire for interpretation to be presented in

additional ways, as well as an interest in the human side of the Baths. Based on past

research it is clear that, although the public is interested in artefacts, it is the people who

once used these items who have captured the audiences imagination (McManus 2000b,

166; Massung 2006b). Likewise, visitors have a desire to identify with people in the past

based on their own experiences; presenting the human context allows them to do so (Falk

and Dierking 1992, 139).

#33 Very acceptable, change not necessary.

#99 Dont need improving.

#180 I thought them excellent.

5.5.10 SPRING SURVEY: IMPORTANT FEATURES

Visitors were originally asked to rank six audio guide features in terms of preference;

however, many visitors had difficulty with this question as discussed in section 4.5.7. The

question was changed as a result, and visitors were asked to select up to three choices.

The following responses are based only on answers given after the change in question type;

this is a sample size of 268.

TABLE 37. Q15/14. Please tick up to three; which feature do you find most important when using an audio

guide, whether at Bath or elsewhere?

OPTION COUNT

Ability to move at my own pace 170

Easy to Use 116

Education: I like to learn something 127

Entertainment: The guide keeps my interest 67

Options: There are different types of tours available 17

Price 19VOID 19

The top three selections were also the first three listed on the questionnaire. Although this

may indicate that visitors answered based on the first options they viewed, the results

throughout all surveys reflect this interest and rating.


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The answer given to the first question regarding visitors using their own digital device is

concerning, as it would indicate that visitors would be unlikely to use location-based or

similar technology on their own device if it were to be implemented more widely. However,

there are two possible explanations for this response that may lessen the negative impact.

First, the question does not provide any specific details or examples, and it is likely difficult

for visitors to imagine the type of tour the author indicated.14

Second, when completing the survey, visitors had just used an audio guide that they rate

quite highly; this negative response may be a matter of visitors expressing the sentiment of

if it aint broke, dont fix it. Likewise, at a location where there are numerous forms of

interpretation available, the use of one more may not strike visitors as significant.

5.5.13 PREFERRED METHOD OF INTERPRETATION

The intent of this question was to determine if there is a particular method of presentation

to which visitors are partial; however, a significant number chose more than one answer, a

result that is echoed in the survey at the Clifton Suspension Bridge (section 7.12). These

responses have been invalidated in order to provide a more accurate comparison, but in

reality, visitors #24a and #33 (Spring Survey VII) are correct: each heritage site or museum is

best served by whichever method of presentation suits the environment, and often a variety

of methods are able to provide a more complete picture.15

Past studies into this subject

have also shown that the number of methods of interpretation used correlates to the

degree of enjoyment; more methods yields greater visitor satisfaction (Randi Korn, pers.

comm., May 2007).

#24a Mixture diff info needs diff presentation.

#33 Would depend on type of visit + which would be most appropriate.

14

The timing of this survey, before the emergence of the iPhone and its associated apps, is likely to have an

impact on visitor response as well.15

Likewise, other visitors commented to the author that it depended on the location as to which method

they would prefer. As discussed in Chapter 1 regarding the definition of presentation, it is specified that

appropriate means should be used (Binks 1986, 40); what is appropriate at one site may not be at

another, as observed by visitor #33.


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Audio guides were selected most often, followed by tour guides and signs and labels.

Overall, this question revealed that there is no one-size-fits-all method of interpretation,

but it is hoped that the potential of location-based media to combine text, audio, and

images in one portable device will allow visitors to access the best qualities of each method.

TABLE 42. Q19/18. Please tick one: Which method do you most prefer at a museum or heritage site?

COUNT PERCENT

Signs and Labels 50 13%

Audio Guide 148 39%

Guide Book/Leaflet 10 3%

Tour Guide 66 17%

Interactive Touch Screen 16 4%

Hands-on Activities 14 4%

Other 3


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impossible to please everyone; overall, the audio guide is well received by a vast majority of

visitors to the Roman Baths.

#232 I wrote poor because most of the commentaries repeated the information that was on thesigns. I enjoyed the extra information made available after this though, although I would not

have taken the guide had it not been included in the price.


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5.6 ROMAN BATHS: AUTUMN SURVEY

The Autumn Survey sought to obtain visitors opinions regarding specific features of the

audio guide. The overall survey size is 198, including the preliminary survey and thechildrens surveys (TABLE 43). As above, percentages are rounded to whole numbers for

simplification, and voided questions are those that visitors left blank or answered with more

than one response.

TABLE 43. The dates and times surveys were collected at the Roman Baths in the Autumn.

VISITORS DATE TIME

#1 - 24aPreliminary

Saturday, 11 August 2007 10:30 AM - 12:00 PM

#1 - 32 Saturday, 18 August 2007 12:30 PM - 2:00 PM

#33 - 58 Wednesday, 22 August 2007 5:00 PM - 6:30 PM

#59 - 77 Wednesday, 29 August 2007 2:45 PM - 4:15 PM

#78 - 113 Monday, 3 September 2007 10:30 AM - 12:15 PM

#114 - 157 Wednesday, 5 September 2007 2:15 PM - 4:20 PM

#158 - 174 Friday, 7 September 2007 4:00 PM - 5:00 PM

5.6.1 AUTUMN SURVEY: DEMOGRAPHICS

As above, the initial questions regarded visitor demographics. The results are similar to

those obtained in the Spring Survey (TABLES18-19), with the exception of those aged under

21. In the spring, fewer children under 12 were represented and a greater percentage of

teenagers and young adults completed surveys. The variation may be a natural fluctuation,

or a result of the school holiday schedule, i.e. more school groups visit the Baths in the

spring.16

16

Based on observations, younger children, i.e. those under 10, tended to visit the Baths with their parents,

whereas older children were part of a school visit or tour group.


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TABLE 44. Q1. Gender of Autumn Survey

respondents.

GENDER COUNT PERCENT

Female 101 51%

Male 93 47%

VOID 4 2%

TABLE 45. Q2. Age of Autumn Survey respondents.

AGE COUNT PERCENT

Under 12 14 7%

13 21 10 5%

22 30 34 17%

31 40 28 14%

41 50 36 18%

51 60 44 22%

61 70 21 11%

71 80 9 5%

81+ 0 0

VOID 2 1%

GRAPH 6. The age of visitors on the Autumn Survey.

Roman Baths Autumn Survey: Age

0

10

20

30

40

50

Under 12 1321 2230 3140 4150 5160 6170 7180 81+

Years

Numbe

rofVisitors


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5.6.2 AUTUMN SURVEY: UK VISITORS AND INTERNATIONAL VISITORS

The following responses (TABLES46-47) consist of just the adult survey (186); the childrens

survey did not ask for country or post code.

TABLE 46. Q3. Visitors country of origin on the

Autumn Survey at the Roman Baths.


British 101 54%

International 83 45%

Void 2 1%

Table 47. Q3. British visitors by country on the

Autumn Survey at the Roman Baths.


England 94 93%

Wales 6 6%

Scotland 1 1%

Although Australia and the United States still provided the greatest number of international

visitors, the amounts have been reversed, with Australia providing a larger percentage of

visitors in the Autumn. This is likely due to the presence of different tour groups visiting the

Roman Baths on the days the surveys took place.

TABLE 48. Q3. International visitors by country of origin; Percent Inter. refers to the percentage based solely

on the international total (83) and Percent Total is based on the overall sample size (186).

COUNTRY COUNT PERCENT

INTER.

PERCENT

TOTALAustralia 32 39% 17%

Canada 8 10% 4%

China 1 1%


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FIGURE 57. Map showing county of origin for British visitors to the Roman Baths during the Autumn Survey

(August and September 2007).


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5.6.3 AUTUMN SURVEY: TOUR AWARENESS

Based on conversations with visitors and comments written during the Spring Survey (II.12),

it appeared that many did not know that the different tours were available on the samedevice. In this survey, visitors were explicitly asked if they were aware of the three tours.

TABLE 49. Q5. Were you aware that three different tours were available?

COUNT PERCENT

Aware of three tours 121 65%

Unaware 65 35%

As over one-third of visitors were unaware of the complete range of available tours, more

should be done to provide visitors with further details and brief descriptions of what each

tour entails. Several visitors commented to the author that it would also be useful to have

an idea of the timing of each tour as well so that they could better plan their visit.

Although most of this information is presented in the introductory audio section, it is easy

for the visitor to miss (Spring Survey II.12, #232). First, the tour details are presented after

visitors are told how to turn the device off. As evidenced by the quantitative data

downloaded from audio guides, visitors tend to find the introduction long and stop it after

the primary instructions.17

#232 Didnt realise I could listen to Bill Bryson probably because I listened to track 1!

Second, most visitors begin to listen to the instructions in the Terrace, which has two

distractions: the Great Bath below and the surrounding crowd. Large groups create a noisy

atmosphere and visitors often appeared to be in a hurry to go on to the next section.

Finally, although visitors may hearthe instructions, they do not necessarily listento what is

being said.

17In March/April and August/September, visitors on average listened to only 74% of the introductory audio

clip; this is 1:39 minutes, vs. the 2:12 of the complete segment. This is also supported in the visitor

feedback (Spring Survey Comments VIII.5, #50: Too slow explaining how to use).


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5.6.4 AUTUMN SURVEY: TOUR PREFERENCES

As with the Spring Survey, visitors were queried as to which tours they listened to overall, as

well as which one they listened to most often. The percentages seen here (TABLE51) arenearly identical to those obtained in the Spring Survey (section 5.5.6), with nearly half of the

visitors listening to one tour during their visit, whilst the other half sampled two or more

tours.

TABLE 50. Q6. Which tours did you listen to?

Please tick all that apply.

TOUR COUNT

General 173

Bill Bryson 103

Childrens 32

TABLE 51. Number of tours listened to by visitors

on the Spring Survey.

TOUR COUNT PERCENT

One Tour 97 49%

Two Tours 84 42%

All Tours 13 7%

VOID 4 2%

TABLE 52. Q7. Which tour did you listen to most often? Please tick one.

TOUR COUNT PERCENT

General 154 78%

Bill Bryson 21 11%

Childrens 15 7%

VOID 8 4%

There is no significant difference between the Spring and Autumn Surveys in regards to

which tours were listened to most often.

Spring vs. Autumn: 2(2, N = 540) = 0.152, p


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understandable. Second, there is either apathy or outright aversion to Bryson (e.g. Spring

Survey IV.2; Autumn Survey I.4; Baths III.2), and finally, visitors report that a lack of time

prevents them from using other options.

5.6.5 AUTUMN SURVEY: TOUR RATINGS

Using eight aspects of the audio guide, visitors were asked to rate the tour they listened to

most often on a scale of 1 5 as follows: (1) poor; (2) fair; (3) average; (4) good; (5)

excellent. Using basic statistical methods, the results are compared in sections 5.6.5.4.18

TABLE 53. Description of the audio guide features studied.

TABLE ABBREVIATION SURVEY DESCRIPTION

Pace Ability to move at your own pace

Length Length of audio clips

Music Music / Sound Effects

Entertain Entertainment Value

Education Educational Value

Extra Info Extra Information Provided

Ease Easy to use audio device

Overall Overall

18

Median is a measure of the middle value in an ordered data set, whilst the mode is the value that occurs

most frequently (Wilkinson 2000, 86). The minimum and maximum provide the range of answers

selected by visitors. The average has been given to two decimal points as it allows a more clear

delineation to emerge between the categories.


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5.6.5.1 AUTUMN SURVEY: TOUR RATINGS (GENERAL TOUR)

TABLE 54. A comparison of the ratings for the general tour.

AVERAGE MEDIAN MODE MINIMUM MAXIMUM

Pace 4.46 5 5 1 5Length 3.95 4 4 1 5

Music 3.57 4 4 1 5

Entertain 3.99 4 4 1 5

Education 4.45 5 5 2 5

Extra Info 4.13 4 4 2 5

Ease 4.60 5 5 1 5

Overall 4.32 4 4 3 5

General Tour (Average Rating)

3.00

3.20

3.40

3.60

3.80

4.00

4.20

4.40

4.60

4.80

5.00

Pace Length Music Entertain Education Extra Info Ease Overall

GRAPH 7. The average ranking for each aspect of the tour and the standard error for each dataset.


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5.6.5.2 AUTUMN SURVEY: TOUR RATINGS (BRYSON AT THE BATHS)

TABLE 55. A comparison of the ratings for the Bryson at the Baths tour.


Pace 4.45 5 5 3 5Length 4.10 4 4 2 5

Music 3.44 4 3 1 5



Extra Info 4.53 5 4 3 5

Ease 4.75 5 5 1 5

Overall 4.68 5 4 3 5

Bryson Tour (Overall Rating)

3.003.20

3.40

3.60

3.80

4.00

4.20

4.40

4.60

4.80

5.00

Pace Length Music Entertain Education Extra Info Ease Overall



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5.6.5.3 AUTUMN SURVEY: TOUR RATINGS (CHILDRENS TOUR)

TABLE 56. A comparison of the ratings for the childrens tour.


Pace 4.13 5 5 2 5Length 3.67 4 3 2 5

Music 4.47 5 5 3 5



Extra Info 4.00 4 3 3 5

Ease 4.93 5 5 4 5

Overall 4.60 5 5 3 5

Children's Tour (Overall Rating)

3.00

3.20

3.40

3.60

3.80

4.00

4.20

4.40

4.60

4.80

5.00

Pace Length Music Entertain Education Quizzes Ease Overall



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5.6.5.4 AUTUMN SURVEY: TOUR RATINGS (STATISTICAL ANALYSIS)

Overall, a similar pattern is found throughout the three tours, i.e. similar averages were

obtained for each category regardless of tour type, although the childrens tour varies

slightly in regards to music and sound effects. As a result, it is felt it will be best to base

the working location-based prototypes on the highly rated features, i.e. educational aspects

and easy-to-use hardware, whilst avoiding the negative.

Another pattern visible is that the count typically grows in relation to the positive scale, i.e.

poor had the lowest tally and excellent the highest. However, in some cases there is a

definite disruption in this model and instead the general tour peaks at the good option

(i.e. the greatest number of respondents selected good), whereas the other two tours

continue to peak at excellent. It is difficult to know whether this is due to an actual

difference in the tours, or the smaller sample size of the Bryson and children's tour.

When subjected to chi-square testing, there is no significant difference between the three

tours in terms of "ability to move at your own pace" nor length of audio clips. The latter is

unexpected given the visitor comments regarding length (Autumn Survey I.2; Baths II.2).

However, this particular aspect is the only feature in which all of the tours fail to follow the

pattern of an increase in count from negative to positive, and instead the highest tally falls

in the good range. As a result, it appears that while there is no statistical difference

between the three tours, the length of the audio segments can certainly undergo

improvements.

Pace: 2

(8, N = 191) = 11.849, p


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and good are the most commonly selected on the other two; as a result, there is an

average rating of 4.47 on the childrens tour, versus 3.57 and 3.44 on the general and

Bryson tour respectively. The possible reasons behind this are twofold: the children's tour

uses far less music and sound effects than the general tour, whilst the Bryson tour has none

(i.e. there is nothing for users to rate). See also Baths II.3 in Appendix E.3 for further

comments about the problems visitors found with the use of music and sound effects.

Music/Sound Effects: 2(8, N = 188) = 26.382, p


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Education Value: 2(8, N = 191) = 8.966, p


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However, the two categories of poor and fair were not selected by any of the visitors.

As discussed in Chapter 4, when the count is 0, these rows are not counted towards the

degree of freedom, and it becomes 4; therefore the results aresignificant. The percentages

again bear out this difference, with only 38% of users of the general tour selecting

excellent, but with 74% and 67% of those using the Bryson and childrens tours selecting

this option. Further calculations pinpoint a statistical difference between the general and

the Bryson at the Baths tour.

Overall: 2

(4, N = 181) = 12.549, p


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5.7.2 CHOICE

Surprisingly, only half of the respondents took advantage of the multiple tours available and

listened to more than one (TABLES28 and 50); it was subsequently shown that approximately

one-third of the respondents were unaware that they had three options (TABLE 49). Visitors

cannot be expected to automatically discern the availability of options, especially when the

data obtained from the guide itself shows that many visitors prematurely stop the audio

guide instructions. In a similar manner, the Bill Bryson tour is in need of a better

introduction; comments on the Visitors Book/Comment Cards questioning the use of an

American accent clearly reveal that at least some of the audience is unaware of not only

Brysons background (Baths II.4, #6, #13), but also the reason his tour is included (Baths III.2,

#8, #10).

5.7.3 VISITOR BEHAVIOUR

A number of issues of interest fall under the category of visitor behaviour. One such item is

the use of audio controls: over half reported pausing or stopping the tour before

completion. As mentioned above, this indicates that the tours are too long at present; it

also shows the importance of providing visitors with a method of controlling the audio

commentary. Visitors also overestimate their consumption of interpretation, which is worth

bearing in mind when designing interpretive content.

Of note are the responses to the questions that seek to gauge visitors interest to

downloading guides to their own device and the use of post-visit websites to provide

additional information. The results are inversely proportionate, with only one-third

indicating willingness to download such a guide, but a 65% majority expressing interest in

obtaining additional information. Based solely on these results, it appears that using ones

own device in a museum setting, where a number of interpretive methods are at the

visitors disposal, has little interest.


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Overall, however, the contradictory nature of the public is evident throughout both the

quantitative and qualitative results. For example, although different types of tours was

the second most common selection for improvement, it drops to last when visitors were

asked to select which audio guide features they find most important. The comments, both

on the surveys and in the Visitors Book/Comment Cards, reflect individual preferences:

some feel there is too much overlap between interpretation, others would like to see

additional methods used (Baths VI.2); the Bryson at the Baths tour is loved by some, loathed

by others (Spring Survey IV; Baths III); the motivation of visitors can range can range over

sixteen possible reasons for selecting a particular tour (Spring Survey II).

As a result, it is clear that a one-size-fits-all approach, whether in the method of

interpretation or the content presented therein, does not necessarily meet the needs of

visitors. This underscores Ronald Hawkeys assertion (2004, 4) that The real key to future

development [of interpretation] is likely to be personalisation. . .

chapter 5 elaine massung

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