Roman Jakobson's six-factor model of communication, originally designed to analyse language, provides a surprisingly robust lens through which to examine the effectiveness and interpretative potential of museum displays. While seemingly abstract, Jakobson's breakdown of a communicative act into addresser, addressee, context, message, contact, and code offers a concrete method for deconstructing how museums present information and engage visitors. By applying this model, we can move beyond subjective appreciation to a more analytical understanding of display design, identifying potential points of confusion or success in conveying the intended narrative and fostering visitor comprehension.
The addresser, in the context of a museum display, is not a single entity but a composite of curators, designers, educators, and the institution itself. They are the architects of the visitor experience, carefully selecting objects, crafting text, and arranging the physical space to communicate specific ideas. For instance, the curators of the 2022 "Reflections: British Art Post-1945" exhibition at Tate Britain acted as addressers, choosing to place Francis Bacon's visceral portraits alongside the more serene landscapes of Lucian Freud, thereby initiating a dialogue about artistic temperament and stylistic divergence. The addresser’s intent is to shape the visitor's perception and understanding of the exhibited material. Their choices regarding the selection and juxtaposition of artefacts, the tone of accompanying labels, and the overall aesthetic of the gallery space are all deliberate communicative acts aimed at conveying a particular message.
The addressee is, of course, the museum visitor. However, the model encourages us to consider the addressee not as a monolithic group but as a diverse audience with varying levels of prior knowledge, cultural backgrounds, and expectations. A display intended to educate a school group will necessarily differ in its approach to one aimed at seasoned art historians. The British Museum's Rosetta Stone display, for example, must cater to a wide spectrum of addressees, necessitating clear, accessible explanations of its significance for deciphering hieroglyphs, alongside more detailed scholarly information. The success of a display hinges on its ability to resonate with its intended audience, anticipating their questions and providing them with the tools to interpret what they see.
The context is the surrounding circumstances that influence the communicative act. For a museum display, this encompasses the historical, social, and physical environment. The historical context of an object – its creation date, provenance, and original use – is fundamental to its interpretation. A display of Roman pottery unearthed at Pompeii gains immense significance when placed within the context of daily life in a city preserved by volcanic ash. The social context, too, plays a role; the same artefact might be interpreted differently in a national museum versus a local heritage centre. The physical context of the gallery space itself – lighting, acoustics, flow of traffic – profoundly impacts how a display is perceived and understood.
The message is the actual content being communicated, embodied in the objects, labels, multimedia, and spatial arrangement. In the "Viking Voyagers" exhibition at the National Maritime Museum, the message was conveyed not just by the replica longship and artefacts like coins and jewellery, but also by the immersive soundscapes and interactive maps detailing their trade routes and settlements. The message is multi-layered, comprising explicit information on labels and implicit cues derived from object placement and thematic grouping. The way these elements are woven together determines the overall narrative and the ideas the museum wishes to impart.
Contact, in Jakobson's terms, refers to the physical and psychological connection between addresser and addressee. For museum displays, this translates to the accessibility of the display. Is the text legible? Are the objects visible from appropriate angles? Is the lighting adequate? Beyond physical contact, psychological contact involves the visitor's engagement and willingness to interact with the display. Interactive elements, compelling narratives, and emotionally resonant objects all work to establish and maintain this vital connection. A poorly lit display with inaccessible text severely compromises contact, hindering any potential for communication, regardless of the quality of the addresser's intent.
Finally, the code is the shared system of signs and symbols that allows for understanding. This includes language (the specific vocabulary and grammar used in labels), visual conventions (how objects are grouped or presented), and even the architectural style of the museum itself. A display using archaic language or overly academic jargon effectively employs a code that excludes many potential addressees. Conversely, the Natural History Museum's dinosaur halls utilise a highly accessible visual code, employing large skeletons, bold signage, and relatable comparisons of size, ensuring broad comprehension. The effectiveness of the code lies in its ability to be understood by the intended audience, bridging the gap between the addresser’s message and the addressee’s interpretation.
In conclusion, Jakobson's communication model offers a powerful analytical tool for museum professionals and visitors alike. It moves beyond a simple "what is on display" to a nuanced understanding of how and why it is presented in a particular way. By considering the interplay of addresser, addressee, context, message, contact, and code, we can better evaluate the success of museum displays in achieving their communicative goals and enriching the visitor's experience.