This paper first illustrates the major revisions, such as a new view of society, the nation, and education, introduced by the New Museology or Museum Studies in the 1980s and 1990s. These changes certainly favoured the development of museum audio description. As museum audio description can be included in the new forms of interactivity, the change of paradigm of interactivity in new museums is analysed and examples are given. Then, a general overview of audio description and its process creation are briefly illustrated in their strengths and limitations. This overview anticipates the two complementary studies on museum audio description as multimodal and multisensory translation. Both studies see the museum and its audio description as an interactive multimodal communicative event but the former focusses more on the grammar of multimodality, whereas the latter emphasises aspects of artistic fruition and the importance of a creative and interpretative language. The paper concludes with my analysis of a museum audio description from the British Museum, focussing in particular on cohesion and coherence.

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Halliday has demonstrated that changes in discourse function covary with changes in the grammatical resources a language makes available to construe discourse. 1 Specifically, he outlined the ways in which nominalisation evolved as a resource for construing scientific reality as a world of logical relations among abstract entities. In the present article, Halliday's theory of the scientific text as process will be outlined. The founding principle of this theory, how grammatical metaphor has introduced changes in scientific English, will be illustrated through analysis of selected lexical items and semantic relations.