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Annex: ChatGPT Examples

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Annex. ChatGTP Example: An Application for Funding

Annex. ChatGTP Example: An Application for Funding

Question: Can you write an application for funding for an exhibition about deaf history?
Answer (22 December 2022):

Sure! Here is an example of an application for funding for an exhibition about deaf history:

Title: "Voices of the Deaf Community: A Journey Through History"

Introduction: Our museum is dedicated to preserving and promoting the rich history of the deaf community. We believe that it is important to showcase the stories, experiences, and achievements of deaf individuals, as they have often been marginalized and overlooked in mainstream historical narratives.

We are excited to announce our new exhibition, "Voices of the Deaf Community: A Journey Through History," which will highlight the diverse and inspiring histories of deaf individuals and communities in the UK. This exhibition will feature a wide range of exhibits, including artifacts, photographs, and interactive displays that showcase the experiences and contributions of deaf people throughout history.

Objectives:

    • To celebrate the achievements and contributions of deaf individuals and communities in the UK
    • To increase awareness and understanding of deaf history and culture among the general public
    • To provide a platform for deaf individuals to share their stories and experiences

Exhibition Overview: The exhibition will be divided into several sections, each focusing on a different aspect of deaf history. Some of the key themes that we will explore include:

    • The history of deaf education and language, including the evolution of sign language and the role of schools and institutions in deaf education
    • The experiences of deaf people during significant historical events, such as World War II and the Civil Rights movement
    • The contributions of deaf individuals to the arts, sciences, and other fields
    • The ongoing struggles and triumphs of the deaf community in the UK today

We will also be featuring interactive exhibits, such as hands-on sign language demonstrations and audio-visual displays, to make the exhibition accessible and engaging for all visitors.

Budget: We are seeking funding of £50,000 to cover the costs of mounting this exhibition. This includes:

    • Exhibition design and fabrication: £15,000
    • Artifact conservation and preparation: £5,000
    • Travel and accommodation for guest speakers and presenters: £5,000
    • Marketing and publicity: £5,000
    • Printing and promotional materials: £2,000
    • Educational resources and guides: £2,000
    • Audio-visual equipment and technology: £10,000
    • Staff time and resources: £10,000

Conclusion: We are confident that this exhibition will be a valuable and meaningful addition to our museum, and we believe that it will have a significant impact on the wider community. We hope that this exhibition will not only celebrate the achievements of deaf individuals and communities, but also help to promote understanding and acceptance of deaf culture in the UK.

Thank you for considering our application for funding. We look forward to the opportunity to bring this important exhibition to life with your support."

Annex. ChatGTP Example: A Business Plan

Annex. ChatGTP Example: A Business Plan

Question: Can you write a business plan for a museum about deaf history?
ChatGTP answer (22 December 2022)

"Sure! Here is a brief outline of a business plan for a museum about deaf history:

Executive Summary: This section should provide a summary of the main points of the business plan, including the purpose of the museum, the target audience, the location, and the financial projections.

Description of the Museum: This section should provide a detailed description of the museum, including its mission, vision, and values. It should also include information about the collection, exhibits, and educational programming that the museum will offer.

Market Analysis: This section should provide an overview of the deaf community in the UK, including demographic information and the current state of deaf culture and history in the country. It should also include information about the target audience for the museum, as well as any competitors in the market.

Marketing and Sales Strategy: This section should outline the strategies that the museum will use to reach its target audience and generate revenue. This may include marketing through social media, partnerships with other organizations, and traditional advertising methods. It should also include information about pricing for admission, memberships, and other products or services that the museum may offer.

Operations Plan: This section should provide details about the day-to-day operations of the museum, including information about staffing, facilities, and systems. It should also include a budget and financial projections for the first few years of operation.

Conclusion: This section should summarize the key points of the business plan and provide a final recommendation on the feasibility of the museum."

Annex. ChatGTP Example: Labels and Panels

Annex. ChatGTP Example: Labels and Panels

It is important what words, sentences you use when you ask ChatGTP to answer a question. Three examples of texts  about the text-telephone:

  • Question: Can you write a short label text for a Deaf Museum that explains the importance of the invention of the text telephone for deaf people?

Answer (20 March 2023): 

The text telephone, or TTY, revolutionized communication for the deaf community. Before its invention, deaf individuals were limited in their ability to communicate over long distances. With the TTY, deaf people could finally communicate with each other and with hearing people over phone lines, using text instead of speech. The TTY paved the way for modern forms of deaf communication, including videophones and instant messaging, and remains an important tool for deaf communication to this day.

  • Question: Can you write a longer text for a panel in a Deaf Museum that explains the importance of the invention of the text telephone for deaf people? Please include when the text telephone was invented and by whom.

Answer (20 March 2023): 

The text telephone, also known as the TTY (TeleTYpewriter), was a groundbreaking communication device that revolutionized the way deaf people communicate. It was invented in the 1960s by Robert Weitbrecht, a deaf physicist who was motivated by the desire to improve communication between deaf people.

Before the invention of the text telephone, deaf people relied on a limited number of communication options, including written notes and sign language. These methods were often slow, cumbersome, and not always readily available. This made it difficult for deaf people to communicate effectively with hearing people, especially in emergencies.

The text telephone changed all that. Using a keyboard and screen, the text telephone allowed deaf people to type messages and send them over the telephone network. The messages were then converted into sound waves and transmitted to the recipient's text telephone, where they appeared on a screen. This enabled deaf people to communicate quickly and easily with hearing people over long distances.

The text telephone was an important step forward in the fight for equal access and communication rights for deaf people. It opened up new opportunities for deaf people in education, employment, and social interaction. Today, the text telephone is still in use, although it has been largely replaced by newer technologies such as video relay services and text messaging.

The invention of the text telephone is a key moment in the history of deaf people and their struggle for equal access and communication rights. It paved the way for future innovations in communication technology that continue to improve the lives of deaf people today.

  • Question: Please write a short text about the invention of the text-telephone, from the personal viewpoint of a deaf person?

Answer (20 March 2023): 

As a deaf person, I cannot express how grateful I am for the invention of the text-telephone, or TTY. Before its invention, communication with the hearing world was a constant struggle, and the only way to communicate with someone who didn't know sign language was through writing notes back and forth.

When I first heard about the TTY, I was skeptical. I didn't think a machine could ever replace the human connection of sign language. But when I used it for the first time, I was amazed. Suddenly, I could communicate with anyone who had a phone, and I didn't need an interpreter or a pen and paper.

The TTY works by allowing deaf people to type out messages on a special keyboard, which are then sent over the phone lines to another TTY user. It was invented in the 1960s and quickly became a game-changer for the deaf community. It allowed us to communicate more easily with businesses, doctors, and emergency services.

Today, with the advent of smartphones and the internet, the TTY has evolved into newer forms of communication like video calls and instant messaging. But it remains a critical tool for many deaf people who rely on it to communicate with the hearing world. As a deaf person, I am forever grateful for this invention that has allowed me to connect with others in ways that were once impossible.

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Quotes:

  • "The Deaf community is international. What binds Deaf people, despite their different national sign languages, is their shared visual communication, history, cultural activities, and the need for a Deaf “space” where people come together."

    from: The Cultural Model of Deafness
  • "After all, we are all of us explorers, and we all have much to bring to each other from our own
    journeyings."
    Ladd, P. (2003). Understanding Deaf Culture: In Search of Deafhood.
  • "Opening ourselves to the Deaf community, listening to and respecting them as co-creators and experts telling the stories they want told, makes our practice richer, and has ongoing positive effects for the community.
    These embryonic relationships hopefully encourage Deaf people to feel welcome in our space — it’s their space too.
    For both side, communities and museum professionals, while genuinely, openly and truly committing to working together can be time-consuming, it repays any investment many-fold."
    Corinne Ball: ‘Expressing ourselves’: creating a Deaf exhibition", 2020
  • "Deaf people have always had a sense of their history as it was being passed down in stories told by generations of students walking in the hallways of their residential schools and by others who congregated in their clubs, ran associations, attended religious services, and played in sporting events.
    With these activities, the deaf community exhibited hallmarks of agency — an effort to maintain their social, cultural, and political autonomy amid intense pressure to conform as hearing, speaking people."
    BRIAN H. GREENWALD AND JOSEPH J. MURRAY, in: Sign Language Studies, Volume 17, Number 1, Fall 2016
  • "Nina Simon has described true inclusion in a museum context as occurring when museums value the diversity in their audience, value those individuals’ potential and contributions, when they actively link those diverse people across differences, and when the organisation reaches out with generosity and curiosity at the core.
    On a practical level this sort of museum practice would see widespread inclusion of people with disabilities in the planning of museum exhibitions, on museum boards and steering committees, and working in curatorial roles."
    In: Corinne Ball: Expressing Ourselves, 2020
  • "Museums can increase our sense of wellbeing, help us feel proud of where we have come from, and inspire, challenge and stimulate us."
    Source: Museums Change Lives
  • "Museums can increase our sense of wellbeing, help us feel proud of where we have come from, and inspire, challenge and stimulate us."
    Source: https://www.museumsassociation.org/campaigns/museums-change-lives/
  • “Stories of disability are largely absent from museum displays. Where they appear, they often reflect deeply entrenched, negative attitudes towards physical and mental difference. Research reveals that museums don’t simply reflect attitudes; they are active in shaping conversations about difference.
    Projects created with disabled people show that museums hold enormous potential to shape more progressive, accurate and respectful ways of understanding human diversity. Why wouldn’t we take up this opportunity? ”
    Richard Sandell, co-director, Research Centre for Museums and Galleries, University of Leicester
  • "As recently as the 1970s, deaf history did not exist. There were available sketches of various hearing men, primarily teachers, who were credited with bringing knowledge and enlightenment to generations of deaf children, but deaf adults were absent."

    In: Preface to: "Deaf History Unvailed, Interpretations from the New Scholarship". John Vickrey van Cleve, editor
    Publisher: Gallaudet University Press, 1993

  • "Histories have for too long emphasized the controversies over communication methods and the accomplishments of hearing people in the education of deaf students, with inadequate attention paid to those deaf individuals who created communication bridges and distinguished themselves as change agents in their respective field of endeavour."
    from: Harry G. Lang, Bonny Meath-Lang: Deaf Persons in the Arts and Sciences, 1995
  • "Access to and participation in culture is a basic human right. Everyone has a right to representation and agency in museums, and communities should have the power to decide how they engage."
    Source: A manifesto for museum learning and engagement
  • "For many members of the Deaf community their shared history is both personal and social. Deaf people will have gone to the same school, in many cases boarding schools where most of their younger lives will have been spent together, and then met again at their Deaf clubs, Deaf social events, reunions and other more personal events.
    One of the first things a Deaf person will often ask on meeting, before asking your name, is what school or Deaf club you go to. Making this connection is an important part of any greeting, as it will then help an individual to understand what shared history or people in common you may have."
    from: The Cultural Model of Deafness
  • "What has become clear is that museums don’t just function as custodians of the past anymore; instead, they have embraced their responsibility towards the communities of the present: a responsibility to represent them, to speak to them, and to be open to dialogue with them."
    Tim Deakin, August 2021
  • "The UN Declaration of Human Rights states that “Everyone has the right freely to participate in the cultural life of the community”. This is based on the principle that citizens are not just consumers of cultural capital created by others; we have agency and the right to contribute through culture to the wider good of society."
    Source: A manifesto for museum learning and engagement
  • "The most significant function of museums is as centres for cultural democracy, where children and adults learn through practical experience that we all have cultural rights. Having the opportunity to create, and to give to others, may be one of our greatest sources of fulfilment. Culture is everywhere and is created by everyone."
    Source: A manifesto for museum learning and engagement
  • "This (Deaf) Museum is not intended as a casual show, to be seen once and forgotten. Its pretensions are nobler; it has a humanitarian aim. By its solid and tangible evidences, making history memorable and attractive by illustration, it serves a double purpose: to dispel ignorance and prejudice regarding the deaf, and to raise the victims of this prejudice and ignorance to their true level in society."
    The British Deaf Monthly, Vol. VI (p.265) 1897. In: Deaf Museums and Archival Centres, 2006
  • “If you do not know where you come from, then you don't know where you are, and if you don't know where you are, then you don't know where you're going. And if you don't know where you're going, you're probably going wrong.”
    Terry Pratchett, I Shall Wear Midnight
  • "It was only during the past decade that recognition of the importance of preserving Deaf history has emerged. In the main, Deaf heritage, culture and folklore has been passed down from generation to generation via the medium of sign language and fingerspelling. (..) It is also vital that the history of Deaf people is made available to future generations, especially Deaf schoolchildren as part of their history lessons."
    A. Murray Holmes,  in: Cruel Legacy, an introduction of Deaf people in history, by A.F. Dimmock, 1993

  • the past can hurt

    From: Walt Disney, The Lion King

  • "An important matter for any minority group is that written documents in public archives are often drawn up by the majority group and do not always reflect a minority as it sees itself. Thus, preserving sign language narration is of the utmost importance and a challenge to those working in the field of Deaf history."
    In: TIINA NAUKKARINEN, Finnish Museum of the Deaf: Presenting the Life of Carl Oscar Malm (1826–1863)
  • "Deaf mute, deaf and dumb, hearing impaired – the choices are many and not without consequences. Words have many meanings, they convey attitudes and prejudices and may hurt, even when used in a well-intended context."
    Hanna Mellemsether, in:  Re-presenting Disability: Activism and Agency in the Museum, 2013
  • "Beyond works of art and objects, museums collect shared heritage, memories and living cultures as well as what we call intangible collectables."
    Source: We are Museums
  • "The Finnish Museum of the Deaf) was founded by deaf people, and, thus, its task has been to strengthen their identity and historical communality.

    Most of our materials have a connection to the key experiences that generations of deaf people have shared. These are important in understanding the past and keeping the collective memory alive."
    In: TIINA NAUKKARINEN, Finnish Museum of the Deaf: Presenting the Life of Carl Oscar Malm (1826–1863)
  • “One story makes you weak. But as soon as we have one-hundred stories, you will be strong.”
    Chris Cleave in "Little Bee", 2008
  • "And yet, even within a large and, in many ways, traditional organization such as this (Trøndelag Folk Museum, Norway), the museum's encounter with Deaf culture contributed to profound changes and a process, still underway, which challenges our own understanding of what a museum is today, our role in society and our obligations towards more diverse audiences than those we had previously engaged or even recognized."
    Hanna Mellemsether, in:  Re-presenting Disability: Activism and Agency in the Museum, 2013
  • "Until the fall semester of 1986, the history department at Gallaudet University had never before offered a course in the history of deaf people.
    In the 122 years, to that point, since the founding of the university, which was specifically intended for the education of deaf peoples, no one had ever taught a course about this very group of people.
    In all of those years the history department had offered courses on a wide range of topics but never deaf history. "
    ENNIS, WILLIAM T., et al. “A Conversation: Looking Back on 25 Years of A Place of Their Own.” Sign Language Studies, vol. 17, no. 1, 2016, pp. 26–41. 
  • "Inclusion is moving from “we tolerate your presence” to “we WANT you here with us”.
    Jillian Enright in The Social Model of Disability, 2021