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One of the outputs of the Deaf Museums project is a report on the 'State of the Art' of Deaf Museums in Europe.
Liesbeth Pyfers, December 2022
Deaf Museums in Europe: State of the Art
Author: Liesbeth Pyfers
Published by: Pragma - Hoensbroek, the Netherlands, December 2022
This book is one of the outputs of the Deaf Museums project, www.deafmuseums.eu.
The Deaf Museums project was partially funded under the Erasmus+ Programme of the EU.
Index
Foreword by Meredith Peruzzi 
1. Introduction 1.1 Deaf Museums?
1.2 Deaf History
1.3 The Deaf Museums Project
1.4 About this Book
2. Museums 2.1 What is a Museum?
2.2 A New Definition
3. Museums Tell Stories 3.1 Museums Tell Stories
3.2 Selecting a Story
3.3 Perspectives
3.4 Mission Statements
4. Location, Location, Location 4.1 Location
4.2 A Pop-up Museum
4.3 A Mobile Museum
4.4 A Museum in a Box
4.5 A Hybrid Museum
4.6 A Virtual Museum
5. Exhibits 5.1 Exhibits
5.2 Collecting and Selecting
5.3 Ownership
5.4 Stories and Oral History
5.5 Copyrights and Data Protection
5.6 Preserving, Storing and Archiving
6. Exhibition Design6.1 Exhibition Design
6.2 Display Techniques
6.3 Labels, Panels and Navigation
6.4 Participatory Design
6.5 Interactivity and Gamification
6.6 Immersive Design
6.7 Accessibility
6.8 Accessibility and Museum Jobs
7. Visitors 71. Visitors
7.2 Young People and Children
7.3 Market Research
7.4 Visitor Research, Monitoring
8. Marketing 8.1 Marketing a Museum?
8.2 A Brand Strategy
8.3 Museum Websites
8.4 Social Media
8.5 Museum Shop, Museum Café
9. Finances 9.1 Costs vs. Income
9.2 Human Capital: Volunteers
9.3 A Business Plan 94
9.4 Fundraising
10. Sustainability 11. Deaf Museums in Europe11.1 The Norwegian Museum of Deaf History and Culture (Norsk Døvemuseum)
11.2 The Finnish Museum of the Deaf (Kuurojen Museo)
11.3 Musée d'Histoire et de Culture des Sourds
11.4 Deaf Museum and Archive UK
11.5 Deaf Heritage Centre, Ireland
11.6 Tommaso Pendola Museum
11.7 Døvehistorisk Selskab
11.8 Museum of Deaf Education (Museum voor Dovenonderwijs)
12. Deaf Museums and Their Stories 12.1 Different Stories
12.2 Deaf Perspectives
12.3 The Story of the Norsk Døvemuseum, NO
12.4 The Story of Kuurojen Museo, FI
12.5 The Story of the Deaf Museum and Archive, UK
12.6 The Story of the Musée d'Histoire et de Culture des Sourds, FR
12.7 Hands Up, AT
13. Deaf Museums and Their Locations 13.1 Location: A School for the Deaf
13.2 Location: a Historic Monument
13.3 Location: a Deaf Club or Organization
13.4 A Virtual Deaf Museum
13.5 Location: a Mainstream Museum
13.6 Deaf Exhibitions at Mainstream Museums
13.7 Deaf Museums in Alternative Locations
14. The Exhibits at Deaf Museums 14.1 Deaf Exhibits
14.2 Deaf Ownership
14.3 Deaf Stories and Signed History
14.4 Preserving, Storing and Archiving Deaf Exhibits
15. Exhibition Design at Deaf Museums 15.1 Exhibition Displays at Deaf Museums
15.2 Immersive experiences?
15.2 Accessibility and Deaf Museums
16. Visitors of Deaf Museums 16.1 Market Research
16.2 Number of visitors
16.3 The visitors of Deaf Museums
17. The Marketing Strategies of Deaf Museums17.1 Advertising
17.2 A Museum Shop?
17.3 The Brand Strategies of Deaf Museums
17.4 The Websites of Deaf Museums
18. The Finances of Deaf Museums 18.1 The Finances
18.2 Income
18.3 Personnel
18.4 Volunteers
18.5 EU Funding
19. The Sustainability of Deaf Museums 
20. Conclusions and Recommendations 
Annex: ChatGPT Examples